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THE HALIBURTON 
TEACHER'S MANUAL 

TO ACCOMPANY 
THE HALIBURTON READERS 



BY 

M. W. HALIBURTON 

SUPERVISOR OF PRIMARY GRADES, CITY SCHOOLS, WACO, 

TEXAS; FORMERLY DIRECTOR OF PRIMARY WORK, 

STATE NORMAL SCHOOL, FARMVILLE, VA.J AND 

FORMERLY PRINCIPAL OF THE TRAINING 

SCHOOL, STATE NORMAL COLLEGE, 

GREENSBORO, N. C. 



D. C. HEATH & COMPANY 

BOSTON NEW YORK CHICAGO 



^ 



Copyright, 191 7, by 
D. C. HEATH & COMPANY 

I E 7 



JUL 14 1917 

©CIA467837 



TABLE OF CONTENTS 

PAGE 

I. FUNDAMENTAL PRINCIPLES INVOLVED IN 

THE TEACHING OF READING 3 

Introduction 3 

Begin with Book or Blackboard? 6 

The Use of Action Sentences 7 

Conversation Exercises 11 

The Teaching of Poems 13 

Reading to Children . . . 16 

II. READING LESSONS AND STUDY LESSONS . 18 

III. DETAILED LESSON PLANS AND TYPE 

LESSONS 27 

Preliminary Lessons in Reading: Blackboard 

Work 27 

A. Sentences Based on Action, 27. B. Sentences 
Based on Objects and Pictures, 41. 

Detailed Lesson Plans in Reading from the 

Primer 43 

A. Introduction, 43. B. Lessons Complete, 48. 

Detailed Lesson Plans in Reading from First 

Reader 108 

A. Introduction, 108. B. First Story Group, 110. 
C. Second Story Group, 115. D. Third Story 
Group, 131. E. Fourth Story Group, 141. 
F. Fifth Story " Group, 144. G. Sixth Story 
Group, 157. H. Seventh Story Group, 173. 

Detailed Lesson Plans in Reading from Second 
Reader . ' 179 

iii 



iv TABLE OF CONTENTS 

PAGE 

Detailed Lesson Plans in Reading from the 

Third Reader 261 

A. Introduction, 261. B. Detailed Lessons Com- 
plete, 266. 

Type Lessons in Reading from the Fourth and 
Fifth Readers 342 

IV. PHONICS 347 

Introduction 347 

Preliminary Lessons in Phonics 352 

A. Ear Training, 352. B. Training the Vocal 
Organs, 355. C. Training the Eye and Vocal 
Organs, 356. 

Later Lessons in Phonics 368 

A. Introduction, 368. B. The Haliburton Pho- 
netic Chart, 373. 

V. SUGGESTIONS, AIDS, AND DEVICES 399 

When the Primer is Read on the First School 

Day 399 

A. Lessons in Reading, 399. B. Lessons in 
Phonics, 402. 

The Treatment of Mother Goose or Nursery 
Rimes 403 

Seat Work 413 

A. Essentials, 413. B. Suggested Seat Work for 
the First Year, 416. C. Some Suggestions for Seat 
Work for the Second Reader, 421. D. Additional 
Suggestions for Seat Work, 424. 

Suggestions for Drills 426 



THE HALIBURTON TEACHER'S 
MANUAL 



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THE 
HALIBUETON TEACHER'S MANUAL 

I. FUNDAMENTAL PRINCIPLES INVOLVED IN THE 
TEACHING OF READING 

Introduction 

If every teacher of primary reading were left entirely de- 
pendent upon her own devices, she would inevitably spend 
some time in asking herself, "How shall I begin teaching 
reading?" and, "Of what shall the child's first reading 
lessons be composed ? " To settle merely these two questions 
would require far too much thought and time, for there are 
several "points of contact " suggested in each of many 
" methods" which the teacher might wish to consider. Cer- 
tain general principles have been defined, however, which 
enable the teacher to settle these questions satisfactorily, — 
principles that are fully and practically worked out in the 
Haliburton Readers. We refer to the great fundamental 
principles of Pedagogy, as follows: 

Apperception Imagination 

Interest Imitation 

Concentration Impersonation 

Motivation Continuity 

Self-Activity Correlation 

Procedure from Wholes to Parts, etc. 

The authors of " How to Teach the Fundamental Sub- 
jects," who are teachers as well as wise investigators, have 
this to say with regard to the two fundamental questions: 

3 



4 THE HALIBURTON TEACHER'S MANUAL 

The child's own life is the basis of his interest. Therefore the 
material of his early reading lessons should relate to this life. 
This thought material may be drawn directly from his life 
experiences — those of which he is already conscious, or those 
that the teacher may help him to realize. Or it may be drawn 
from stories or pictures that portray similar experiences. Pets, 
playmates, games, and other good times are characteristic topics. 

They also say of the story quality: "It is the better prac- 
tice now to have the early lessons in reading consist of sen- 
tences which have such a relation to each other that they 
make a continued story." In her book, "Reading — A 
Manual for Teachers," Miss Laing says: 

The first condition of teaching anything well is the securing 
of sustained interest with the accompanying habit of atten- 
tion. The ^vocabulary of] words that the child must master 
before he can read are forms. They must, then, be asso- 
ciated with a content that will interest the child. . . . The 
observation of children shows that they are interested in human- 
ity and in nature, especially in those aspects of nature that 
appeal to them as life. The human interest develops first and is 
most constant and persistent. Child study thus far suggests 
that children are most interested in children; the child's home is 
his little world, the only world he has ever explored. ... It is 
noteworthy that the books which have appealed most strongly to 
children are books that have children in them. This is partly 
due, qo doubt, to the child's interest in the child, and partly to 
the fact that a book which has a child for its center is more 
likely to carry with it the setting that will interest a child. 

In "Teaching Children to Read," the author says: 

A third lesson that this psychological study teaches us is that, 
from the very beginning, the work in primary reading must be 
conducted in such a way as to develop (1) speed, (2) accuracy, 
(3) direct association between printed symbol and idea, omitting 
the auditory image. Therefore, in asking children to read early 
blackboard exercises, the time during which the sentence or phrase 
or word is exposed should be limited. The subject matter to be 



PRINCIPLES IN TEACHING OF READING 5 

read is shown and then quickly erased or covered. Instead of 
reading the assigned sentence orally after this limited exposure, 
let the child give evidence of the possession of the thought in ways 
other than verbal. 

An examination of the Haliburton Readers will show how 
well they present the ideal conditions specified by these 
educational leaders. First, the subject matter of the Primer 
and First Reader is drawn directly from the child's life ex- 
periences, for it tells of the home life of four little playmates, 
their pets, games, and their good times, and both books 
are rilled with pictures that portray similar experiences. 
Secondly, both the Primer and First Reader possess the 
necessary story quality. The "early lessons" — even in 
the Primer — "consist of sentences which have such a re- 
lation to each other that they make a continued story." 
The Haliburton Primer is "a book which has a child for 
its center," and carries with it "the setting which will in- 
terest a child." How successfully the preliminary work is 
conducted, from the very start, "in such a way as to develop 
speed, accuracy, and direct association between the written 
or printed symbol and the idea, omitting the auditory 
image" may be seen in the directions given for beginning 
the work in reading: the teacher shows and then quickly 
erases from sight action words which are to be silently 
enacted by the pupil, who thus "gives evidence of the 
possession of the thought in a way other than verbal"; 
that is, he shows by his acts that he reads the sentence 
and gets the thought. 

Having seen that the subject matter with which we are 
to deal in our work of teaching reading is in accordance 
with the best pedagogical principles, we will next discuss, 
briefly, certain points that deal with the procedure to be 
followed and the results to be obtained. 



6 THE HALIBURTON TEACHER'S MANUAL 

Begin with Book or Blackboard? 

This is a question that must be settled by each teacher for 
herself. It seems that, while there are few, if any, arguments 
in favor of beginning with the book in the hands of the 
children, there are many against it. The most important of 
the reasons why it is best to begin with the blackboard are: 

(1) By using the blackboard, the teacher is able to adapt 
and adjust the subject matter of the early lessons according 
to her needs. (2) The amount of reading matter before the 
beginner at any one time can be limited to one or two sen- 
tences. In this way all danger of confusing or discouraging 
the slower children is eliminated, a danger which does often 
threaten in confronting the child at once with a whole page 
of a primer. (3) The teacher can more effectively meet the 
needs of each child, by easily including in the lesson many 
repetitions of troublesome words. (4) By using the black- 
board, the teacher can, with but little effort, direct the 
attention of the entire class to the sentence that is being 
read. This cannot be done easily when each child reads 
from his book. (5) Books are cumbersome for the little 
child to handle correctly, presenting a difficulty which should 
be deferred until he has grasped the idea of what reading is. 

The amount of time given to blackboard reading exclu- 
sively may be only three weeks, although five or six weeks is 
better. 

Primary teachers do not themselves agree as to the use 
of script or print in the early blackboard lessons. The print 
that most teachers use on the blackboard is usually quite 
different from the print of the book; so that, in progressing 
from the teacher's print to the type of the book, the child 
will have almost, if not quite, as much to learn as if he went 
from blackboard script to book type. It would seem for this 
reason that no particular advantage is gained by using print 



PRINCIPLES IN TEACHING OF READING 7 

on the blackboard, and furthermore it is unwise to ask 
teachers to give much of their time and energy, as is often 
necessary, to learn how to print, when they are already skilled 
in the free and rapid use of script. Then, too, the child 
must inevitably learn to know script, since he must use it 
later, whereas he may never find it necessary to print. The 
only time when the teacher may have to print on the board 
is in facilitating the children's work during the transition 
from script to type, from blackboard to book. Then the 
teacher will probably find it necessary a few times to put 
the same sentence on the board twice, first in script, and 
then, below the script, in print. From this sentence, writ- 
ten and printed on the blackboard, the child can easily 
progress to the same sentence printed in his book. 

But even this necessity for printing will be eliminated if 
the teacher uses the Phonic Drill cards, or Word Drill Cards, 
which are supplied by the publishers, D. C. Heath and Co. 

The Use of Action Sentences 

The life of the child, until he enters school, is largely made 
up of action. He runs, jumps, skips, sings, whistles, and 
plays the whole day long. To be suddenly imprisoned 
behind a desk and made to sit there most of the time, learn- 
ing to recognize and pronounce words, is almost torture to 
many children. To all children such a procedure means 
deadly dull and tiresome work, for it is an offense against 
the child's nature, self-activity being the law of his life. No 
wonder that he learns to hate and dread the hours in school ! 
When, however, he learns that, as soon as he can recognize 
instantly such sentences as Run, Jump, Dance, Whistle, Sing, 
Rick the ball, Toss the ball, he may get up and do the things 
that these sentences tell him to do, he is filled with delight, 
his interest is aroused, his whole attention is concentrated 



8 THE HALIBURTON TEACHER'S MAJSTUAL 

upon the lesson, in his eagerness to learn the words. He is 
not troubled by the thought of having to speak these words, 
since he is not at first required to do so. 

The imperative form of sentence is best to begin with, as 
Run, Jump, etc. Detailed plans for lessons made up of such 
sentences are found on pages 27-36. 

The reading of action sentences is highly approved by the 
best authorities on primary reading. Miss Jenkins, in her 
valuable book, "Teaching Primary Reading," says of the 
pupil's motive in reading: 

Some feeling of need, some personal relation to the reading mate- 
rial, is the motive which a pupil must have if he is to attack his 
reading lesson with energy and rejoice in its accomplishment. With 
a strong motive, interest is raised to the nth power, meanings appear 
which would otherwise be lost entirely, and difficulties of form take 
their rightful, subordinate place. The teacher who is ignorant of 
the tremendous power of motive will find her work greatly lessened 
if she will study to discover worthy motives for the reading 
work in her class. Reading may form a basis for activity. This 
is one of the strongest motives for reading throughout the grades, 
particularly for the motor type of child. The beginner reads 
the simple action words to himself, and carries out the action men- 
tioned: Run; Skip; Fly; Hop. He enters into the game, the 
directions for which are written on the board: Play you are birds; 
Fly to your nests; Fly to the meadow; Pick up seeds. The older 
pupil reads [in order] that he may dramatize, that he may illus- 
trate by pantomime. 

Miss Laing says: 

The child pursues with great persistence and pleasure those things 
which give an opportunity for free self-expression. The spon- 
taneous attention which he gives under these conditions of free 
activity is the condition under which his clearest ideas are formed. 
Healthful response in the form of activity, both receptive and 
expressive, must be secured. The child's interest must be awakene,d 
in the objects and activities toward which his own development 
inclines him. Without such interest his attention would be fitful 
and evanescent. The presentation of subjects to which our chil- 



PRINCIPLES IN TEACHING OF READING 9 

dren will respond and their presentation in the most fortunate way 
form two most important aspects of lesson work; for this self- 
active response is interest, the condition of spontaneous attention, 
without which education is a sorry matter for both teacher and 
child. ... If the child listens with attention, the spoken words 
must say something to him: if he looks attentively, the written 
words must recall ideas that are interesting to him. His interests cen- 
ter in the content. He masters the language forms because of their 
essential relation to content. Interest in content, when it is fairly 
sustained, is the efficient means in the mastery of language forms. 

The teacher should train her pupils from the beginning to 
read different forms of action sentences. There are declara- 
tive sentences which can be "made true," or acted out, by 
the child; as, / can run, I can jump. The child reads the 
sentence silently first, then turns to the class and says, "I can 
run," and runs. Or he may be required to do whatever the 
sentence commands — run or jump or anything else — just 
as soon as he has read it silently and before he speaks it. Or 
he may read silently, perform the act, and not speak at all. 
The children should be taught the interrogative form of the 
sentence also, the teacher writing questions on the board; 
as, Can you run? Can you whistle? Can you sing? These 
questions the children read silently and then answer by giv- 
ing the declarative form, negative or affirmative as the case 
may be. The children should never answer questions by a 
mere "yes" or "no." Other sentences to be "made true" 
will be found elsewhere in this Manual (see pages 29-34). 

As to why silent reading should be emphasized as much or 
more than oral reading in early lessons, Klapper says: 

Since the mind reads faster than the eye, the learner must be 
taught to neglect the word and the phrase and seek the thought; 
in other words, the word-symbol must be subordinated to the mean- 
ing. We must make the eye as sensitive and efficient a tool for 
thought-getting as the ear. In listening to a speaker, if there is 
nothing unusual about his choice of words or pronunciation, we are 
hardly conscious of the words themselves; we busy ourselves with 



10 THE HALIBURTON TEACHER'S MANUAL 

the thought. We have thus trained ourselves in life to neglect 
auditory words and seek meaning. In the same way the method 
of reading in the elementary school must seek to make the eye so 
sensitive to meaning that in scanning a page it becomes as uncon- 
cerned with printed words as the ear is with auditory symbols. 
The child must learn that words are like our eye-glasses — they 
are of the greatest service when we look through them, not at them. 
The printed page must ever be like a glass which we do not see, but 
through which we see thought. . . . We must change the relative 
emphasis on oral and silent reading, and give to the latter the 
prominent place accorded to the former in present-day practice. 
Not only do we place too great an emphasis on oral reading, but 
we begin it too early in the school life of the child. The popular 
superstition is that plenty of drill in oral reading in the classroom 
prepares for efficiency in silent reading in the post-school days. 

This writer shows that overemphasis on oral reading unfits 
the individual psychologically for efficient reading in later 
life; and that the earlier we develop in our children the habit 
of reading silently, "the sooner we make them efficient and 
intelligent readers." 

Miss Laing says of lessons in oral reading for the beginner: 

Think of the enormous complexity of the process that is forced 
on the child all at once when he is asked in the first primary grade 
to begin at once to read aloud ! He is doing two things at once, for 
two distinct processes are involved: the first is the thought grasp, 
the second is the thought expression; moreover, these two processes 
are somewhat opposed — the first being in the receptive form of 
self -activity, the second the impulsive form. Plainly, these two 
processes must be separated in the beginning; the receptive must 
precede the impulsive, impression must precede expression. . . . 
Oral reading has been used largely as a device for ascertaining if the 
child has mastered the words. Mischievous results have followed 
the abusive use of one process for the purpose of seeing that another 
process has been performed. ... It may be seriously questioned 
if thousands of teachers who are teaching children "reading" do 
not deem the smooth utterance of words the great end of their 
work. That such teaching should lead directly to word pronuncia- 
tion where no whit of the true reading process is present, is not 



PRINCIPLES IN TEACHING OF READING 11 

strange. . . . What shall we say of an education that induces 
such habits by its mode of procedure, that cripples the mind which 
it purposes to aid, by leaving the higher thinking powers stag- 
nant and inactive during that period of life when they should be 
developed? 

It seems unnecessary to say anything further in favor 
of employing silent reading rather than oral, just at first. 

Conversation Exercises 

Preparation for the lesson is as essential in the very begin- 
ning of reading as at any later stage of the work. It is by 
means of the conversation exercise that the children are 
prepared for their reading lesson, that they may be put in 
the mood for it. All teachers realize the value of conversa- 
tion lessons as a part of early language work, but perhaps 
some do not realize that they may be just as valuable a 
preparation for early reading lessons. 

What is the aim in using conversation lessons in connec- 
tion with early language work? To give the child that most 
important possession, "the ability to think accurately and 
to give correct expression to his thought." Since reading 
implies first thinking and then expressing, the teacher's 
aim in using conversation exercises, quoted above, should 
be the aim in using similar exercises to prepare the child for 
his reading lesson. The object of this aim can best be attained 
by drawing out in the form of free and spontaneous conversa- 
tion the expression of thought on matters closely connected 
with the life and interests of the children, their home, their 
parents, brothers and sisters, the baby, the animals at home, 
the pets, playthings and games. If the teacher is genuinely 
interested, if she is sympathetic in spirit and natural in 
manner, the children will respond freely. 

Suppose the teacher wishes to lead up to the first lesson 
in the preliminary blackboard work, in which she purposes 



12 THE HALIBURTON TEACHER'S MANUAL 

teaching the imperative sentences, Run, Jump, Hop, Skip. 
She engages the children in conversation about what they 
do when they play outdoors. She might have, first, a short 
talk about such activities and then introduce "the little 
deaf and dumb teacher, Mr. Chalk," suggesting that he be 
allowed to play with them. This last idea makes it neces- 
sary to add to the conversation something about deaf and 
dumb people — how they talk to each other by making signs 
instead of speaking, how closely one must watch them to 
understand them. This is sure to be interesting, and the 
desired "point of contact" is reached when, the introductory 
talk finished, the children grasp the idea of the chalk speaking 
to them, and become, not merely receptive, but even eager 
for the first reading lesson! (See page 27.) 

If it were a preparation for the first lesson on the ball, 
the conversation might be about the different things they 
can do with a rubber ball, how they like to play ball, and so 
on; then, after showing how they toss it, roll it, bounce it, 
kick it, etc., the children are ready to play ball with Mr. 
Chalk. When the children are to read in the Primer about 
Baby, the preparatory conversation will be about the baby 
sisters and brothers at home. When they are to have the 
basic story for the jingle of the kitty-cat and the bat, the 
conversation lesson should be a nature talk about the bat, 
during which a picture of the bat should be shown and its 
strong resemblance to a rat pointed out, and about rats, the 
way they hide from cats, how swiftly they run, and so on. 

It is during such preparatory conversation exercises that 
the new words of the lesson should be taught. Some one 
has said of the task of teaching the child new words, "Keep 
him interested in the thought and the battle is soon won. 
Remember that the word should not be separated from the 
thought and that the child should not be made to feel that 
he is being drilled in word mastery." 



PRINCIPLES IN TEACHING OF READING 13 

Such conversation lessons seem very simple, but the teacher 
who thinks she can conduct them interestingly or succeed in 
accomplishing the desired aim by trusting only to the inspira- 
tion of the moment is greatly mistaken. She must prepare 
herself for the work of preparing the children for each lesson. 
The function of the preparatory conversation exercises is 
more fully discussed on pages 14-16. 

Many educators advise that, before the class finishes the 
reading of the Primer, the teacher devote the story-hour 
period to telling (never reading) to her class the longer stories 
in the First Reader. The children may reproduce orally, 
and even dramatize, these stories during the Primer stage of 
advancement. The teacher should be careful to follow the 
version given in the First Reader, but she should tell it in 
its full form, — not in the condensed form and by means of 
the short sentences which the children will read in the First 
Reader. 

Following this plan may render unnecessary some of the 
preparation specified for each lesson as worked out in the 
Detailed Lesson Plans in Reading from the First Reader. 

The Teaching of Poems 
In his book, "Literature for Children," Lowe says: 

Some teachers will ask how poetry is to be taught. To that 
question the absolute answer is : through the ear. All poetry is to 
be read aloud and well read. Poetry must be read musically and 
with a natural time and swing. It should be understood that part 
of the work of the teacher is to develop a good reading tone of 
voice. The present-day tendencies towards shrieking and mouth- 
ing of words are most deplorable tendencies. Let the teacher first 
master the poem and then teach it by word of mouth. Now this 
reading, by which the poem is to be taught, is to be merely a good 
natural reading — not the affected and exaggerated one of the elo- 
cutionist. Let the child get the idea that he must say (or read) the 
poem over and over until it has become his own. 



14 THE HALIBURTON TEACHER'S MANUAL 

Generally speaking, teachers do not like to teach poetry. 
They complain of a reader that contains a good deal of 
poetry. Many of them would like to eliminate poetry from 
the reading books which they use. They say that children 
are averse to a poem as a reading lesson, though most of 
them are delighted to hear poetry read aloud. Now, why is 
this the case? The reason is not far to seek. Children do 
not like to read poetry for themselves because they do not 
understand what they read; they are delighted to hear it 
read, however, because they love rime and rhythm. They 
do not understand what they read for themselves because 
prose is the common vehicle of thought and poetry is not. 
What is the remedy for this state of affairs? The teacher's 
preparation of her class for studying a poem, if thorough and 
along the right line, will change the whole situation. 

If there are any allusions in the poem which are unfamiliar 
to the child and yet are vital to the meaning of the poem and 
to the child's appreciation of its beauty, the teacher should, 
in a talk or discussion previous to the reading of the poem, 
make all such allusions clear by showing the necessary ob- 
jects, or helpful pictures, or by telling a story. This pre- 
paratory talk may sometimes become almost the literal 
narrative of the poem, but it should not degenerate into 
actual paraphrasing, which is "a process of doubtful 
value." 

It is not always necessary that there should be any con- 
scious connection in the minds of the children between the 
teacher's preparatory talk and the poem that is to follow. 
The talk or discussion may be given at one period, the poem 
may be given at another period. The children, having thus 
in their possession the key to the interpretation of the poem 
furnished by the teacher's talk, may use it themselves of 
their own initiative, when it conies to the reading of the 
poem. This is, perhaps, the more artistic procedure, but 



PRINCIPLES IN TEACHING OF READING 15 

usually it is more effective to give the introductory talk 
immediately before the reading of the poem, for through the 
oral use of the new and unfamiliar words in the poem, the 
teacher may give the different forms and meanings of these 
words. The teacher may also write the difficult phrases on 
the board as she speaks them in her preparatory talk. Such 
preparation is indispensable. The clearer and stronger the 
first impressions are, the more abiding they will be. There 
should never be any occasion to stop for explanations in the 
midst of reading a poem. Whenever the listening child's 
thought is arrested and his interest weakened or diverted by 
an allusion whose real meaning is unknown to him, the poem 
loses a measure of its power. Any break in the reading to 
explain such an allusion is just as mischievous as to leave 
the allusion unexplained, if not actually more so. 

When she is ready to begin reading or reciting the poem, 
the teacher should state first the problems she expects the 
children to solve — and these should be problems that 
demand each pupil's own interpretation and application of 
the meaning of the whole poem. The teacher may say: 

"There are some things I wish each of you to be ready to 
tell me when I finish this poem: first, what picture you see 
most plainly; second, what words or lines make you see it; 
third, what parts of the poem you like best; and fourth, 
what the whole makes you think of." 

This fourth requirement helps the class to perceive the 
central meaning of the poem. Such introductory state- 
ments by the teacher arouse keen interest on the part of 
her class and stimulate each child to alert attention, vivid 
imaging, and a desire to tell the others what he saw, thought, 
and felt during the reading of the poem. 

The child is now ready to hear the poem read as a whole, 
uninterrupted by question, comment, or explanation. It is 
only in its unity that a poem "reveals its central meaning 



16 THE HALIBURTON TEACHER'S MANUAL 

and its beauty; and each listener is entitled to the joy of 
discovering that central theme and beauty." 

Sometimes it is helpful to reread the poem stanza by 
stanza, or by other, longer, divisions if it is a long poem, so 
that each stanza, or division, may be more fully discussed 
and more clearly grasped. 

Having the poem thus presented to him, the pupil should 
next be provided with the means of expressing his assimila- 
tion of the poem. Such means of self-expression may be 
the various forms of drawing, cutting, painting, or modeling, 
or the memorizing and reciting the poem. Illustrations 
of the treatment of poetry and further suggestions will be 
found in Chapters III and V of this Manual. 

Reading to Children 

There should be regular periods for reading to children, 
which must not degenerate into a mere pastime, granted to 
the pupils as a reward, or whenever the whim to do so seizes 
the teacher. 

Special aims should direct the teacher in her selection of 
what to read to the pupils. She may select one story because 
it has some connection with a poem she wishes to teach, 
another because it is one that the children will like to turn 
into a play (see treatment of Jack and the Beanstalk in 
Chapter III, page 207), or because it presents a desirable 
dialogue or dramatization already made; still another story 
may be selected because it is a good test for oral reading, or 
because it gives point to some particular ethical principle. 

In her reading of the story or poem to the class, the teacher 
should exercise great care as to articulation and enunciation, 
striving to make her reading a model for the children. If 
they notice that their teacher does not keep her eyes fastened 
upon the page she is reading, but frequently looks into 
their faces, the children will acquire the same habit. 



PRINCIPLES IN TEACHING OF READING 17 

Throughout the term the teacher should keep before her 
the general aim of giving the children an acquaintance with 
and an appreciation of real literature. Teachers in the same 
school should consult with each other and plan a systematic 
course of literature which should include certain stories and 
poems to be thus given to the different grades; the selec- 
tions for one grade should not encroach upon those of 
another, except that each grade above the first may review 
the stories and poems that were given in the preceding grade 
whenever this seems desirable. 



II. READING LESSONS AND STUDY LESSONS 

There can be no such thing as an intelligent and thought- 
ful reading lesson without study by the individual pupil, 
which should be regarded as an essential feature of the 
regular lesson. 

Even the child who is just beginning the Primer should 
be given some idea as to how to study his lesson. When he 
thoughtfully examines the lesson picture, when he talks 
about it, when he listens to the lesson story, when he 
observes the written form of the words at the moment he 
hears the teacher speak them, he is being prepared for his 
lesson. He is, therefore, studying his lesson at the time, 
for all those exercises require the "application of the mind, 
to acquire knowledge," which is study. When he reads the 
lesson aloud, he will very likely meet with a word he has 
forgotten or one he has never seen. He should be trained 
to make the effort to master the new word for himself. Such 
training requires that he first reread the sentence in order 
to find out what word, if any, in the place of the unknown 
word, would make sense. If this fails to put him in posses- 
sion of the word, he should try to get it by thinking the sound, 
or by whispering the sound of the initial letter or any other 
phonogram in the word that he may know. If this also 
fails, he may, as a last resort, hold up his hand to attract the 
teacher's attention and say "second" or "third" or "fourth," 
to indicate thus the position in the sentence of the unknown 
word. The teacher pronounces the word for him without 
comment, and he is then ready to proceed with his silent 
reading. No child should be permitted to read a sentence 
aloud until he has read it silently and is sure of every word. 

18 



READING LESSONS AND STUDY LESSONS 19 

Another characteristic of this study is what Colonel 
Parker used to emphasize constantly, as thought analysis. 
This is nothing more than the children rinding in their book 
answers to questions put by the teacher. 

Let us suppose that the children are to read the lesson on 
page 12 of the First Reader. 

The class observe and study the picture (page 13) on which 
the lesson is based. Then they answer "from the book" 
what the teacher asks, — such questions as "What time of 
year is it?" The class read silently to find out and give 
the answer aloud, "It is the springtime." 

Qu.: What of the sky? Arts.: The sky is blue. 

What do the birds do in the springtime? What else do 
they do? etc. What about the bees? What about the 
lambs, the children? What is it that Betty and Alice 
have? Ask me a question about one of the lambs. Tell 
me something more about Alice. Tell me what she says to 
Grace. What does she call out to Betty? 

This is a study lesson, — that is, one in which the class 
works with the teacher. It is a preparation for the final 
reading of the lesson as a whole, without the interruption of 
questions. 

Another way of preparing the children to read a lesson, 
especially if it is a story, is for the teacher to tell it. Such 
lessons as those that begin on pages 20, 24, 52, 59, 65, 73, 96, 
109, and 122 may be told by the teacher at the story- telling 
hour, if she likes this way of preparing the children to read 
the story. But the telling should be some time in advance 
of the reading of the story. Teachers sometimes secure 
better results in reading if they tell the story several weeks 
or even months before the children read it. They say that 
the children regard the story as an old friend and are delighted 
to read it, — and it seems to be a generally conceded point 
that children like to read a story that they have heard. 



20 THE HALIBURTON TEACHER'S MANUAL 

This plan seems to be approved by most educators, but 
many teachers object to it, saying that the children are 
robbed of true motivation in reading a story if they already 
know it or have heard it told. Because of this objection, 
in all but a few of the type lessons for the First Reader, 
given in Chapter III of this Manual, story-telling is omitted 
from the suggestions as to preparation for reading lessons. 

The reading of Mother Goose Rimes requires still a differ- 
ent method of study and development in the preparation. 
(See also Chapter V, section 2.) 

The story of the rime is to be told by the teacher in her 
preparatory talk. The rime is then read or recited to the 
children and memorized by them. When they have memo- 
rized the rime, they dictate it, line by line, for the teacher 
to write on the blackboard. As soon as a line is written the 
children read it aloud. When the rime finally stands on the 
board, complete, the children are asked to find in it single 
words chosen by the teacher at random. In order to find 
the word he is hunting for, the child is frequently induced to 
go back and reread the line or even the whole stanza. This 
is a kind of word drill known as reading by position of words. 
By this study of the rime, the children are prepared for an 
oral reading, which is to be followed by a recitation or singing 
of the rime accompanied by pantomimic expression.* While 
the pupils chosen for actors go through with the prescribed 
accompanying pantomime, the rest of the class recite or 
sing the corresponding rime, following the teacher's guiding 
pointer under the words on the board. 

Then there may be study lessons in which the teacher does 
not take such an active part as that described above. 
In these lessons the teacher controls the study indirectly, 
through questions or commands, spoken or written on the 
board. The questions and commands should be definite, 
and should lead to the solution of possible problems in the 



READING LESSONS AND STUDY LESSONS 21 

reading lesson which the class is to solve in their silent read- 
ing. If the questions and commands are of the right kind, 
they will make the pupils read the lesson attentively to 
get the thought. 

Let us suppose the children are ready for silent reading or 
study of the story of Kill-Quick and the Birds in the Second 
Reader. The teacher writes on the board the following: 

Read the story through. 

Of whom does the story tell ? 

Why was he so called? 

What happened to him one day? 

How did he spend that night? 

What waked him next morning? 

How did he feel when this happened ? 

How did he spend the next day? 

What about his life from that time on ? 

What happened, at last, and how did it change his life? 

Such suggestions, which may be called an assignment, give 
purpose to the silent reading or study lesson, and such 
directed silent reading will lead to oral reading, expressive 
because it is intelligent reading. 

It may be sufficient, sometimes, merely to give a motive 
for the study, instead of a written assignment. It may 
be enough to say, for example, "Read the lesson so that we 
can play it." The children will realize that this necessitates 
thoughtful silent reading, since they must find what to say, 
and careful oral reading afterwards, when they will learn 
how to say it. 

Sometimes the pupils should be given time to read silently 
some selection which is not to be read orally at all, the pupils 
reading with no motive but for the pleasure they can get out 
of the story. The teacher will probably have several motives 
in arranging such an exercise, however, — such as giving the 
pupils practice in using books intelligently and independently, 



22 THE HALIBURTON TEACHER'S MANUAL 

training pupils to master thought with speed and accuracy, 
helping them to form the habit of attacking new words 
through the thought, and of seeking for the important thing, 
the central thought of the selection. 

When the teacher announces the problem to be solved, 
the definite something to be found out, or the central idea 
to be discovered, she is assigning the lesson. The skillful 
teacher realizes the importance of a definite, purposeful 
assignment. But any assignment will be wasted unless the 
pupils have the mental preparation for attacking the problem 
stated. The teacher must know what facts it is necessary 
for the children to possess, and she must be ready either to 
impart this information or lead the pupils to discover it for 
themselves. She may have to do a good deal to prepare 
herself to impart these facts or to lead her pupils to discover 
them. No teacher can successfully conduct a reading lesson 
without preparation on her own part. She must decide what 
results she expects to secure and how best to secure them. 
She will be wise to write out a definite plan for each approach- 
ing lesson, — a plan of procedure which she can follow 
approximately if not absolutely. After a time she will 
cease to need a written plan, but she will never reach the 
point of being able to do without preparation for teaching 
any lesson. 

Miss Laing says in "Reading: A Manual for Teachers": 

When the whole import of a text is to teach some one important 
truth, the pupils should be helped to see that truth clearly and 
strongly. Power in literary insight grows with such work. One 
feels this in more sustained productions, but too often overlooks 
the fact that the child's earliest reading should give the beginning 
of such power. The child who clearly grasps the thought of the 
sentence may be helped to grasp the import of the whole story, 
and later he may be trained to distinguish the leading thought, 
paragraph by paragraph, chapter by chapter, and then to seize on 
the great central truth of the whole. This is power. 



READING LESSONS AND STUDY LESSONS 23 

All great literature is ethical. The central thought, the essen- 
tial heart of the classic, be it short or long, that you help your 
class to find, is ethical. It should, if possible, represent something 
that they are ready to receive. It should fit into their lives in 
a close, intimate, organic way. 

Do not try to teach many selections of this sort in one term, lest 
their essential work of growing into the class thought — into their 
lives — be interrupted. 

Many productions have a most valuable central truth that can 
better be implied than directly stated. 

We have discussed the silent reading of lessons rather fully, 
and yet there remains to be said something of the oral read- 
ing lesson which generally follows the silent reading. Per- 
haps to say "always follows the silent reading" instead of 
"generally" would be nearer the truth, since most teachers 
demand the oral reading of the lesson, whether it has been 
thoughtfully and intelligently prepared for or not. A recent 
writer on this question says: "If there is no good reason 
for reading a selection aloud, it should not be read." 

Suppose every teacher paused long enough to ask herself, 
"For what purpose am I having this lesson read aloud?" 
What would be her true answer? Would one or the other 
of the following purposes be her answer? "To give the 
pupil opportunity to convey to the others the thought 
of the author," or, "to have him read aloud so that I 
can find out what words he does not understand, and 
what faults in expression I must correct, so he can read 
smoothly and with expression." These purposes are very 
different. Both should be in the teacher's mind as aims 
for the work in general, but both should not be the special 
aims for the same lesson. When the aim is to have the child 
read for the purpose of conveying thought to others, he 
should read only matter that has been well studied by him 
or matter so easy for him that he can read it at sight. When 
the other purpose is before the teacher, the child should read 



24 THE HALIBURTON TEACHER'S MANUAL 

to her with the smaller group of his classmates who are 
"in the same boat" with himself, — that is, the children 
in any one class should be graded according to their 
proficiency. 

As the children advance beyond the First Grade, the 
preparation for oral reading should include an increasing 
number of exercises in phonics. The number of words that 
the child has difficulty in mastering constantly increases 
unless his power to sound words for himself grows pro- 
portionately, and this growing power is daily exercised. Syl- 
labifying words should become an ever larger part of the 
preparatory work for oral reading exercises. 

The teacher who knows which words in a lesson will be 
difficult for the pupils to master will include those words in 
the preparatory drill in phonic analysis and syllabication. 
She notes also the words and phrases in the lesson whose 
meanings will be new to some, if not to all, of the children, 
and she prepares to give these meanings in the only way she 
can: by using them in the preparatory discussion and at 
the same time writing the words on the board. The teacher 
takes note of all allusions in the lesson to unfamiliar ob- 
jects, places, persons, etc., and plans how to make these 
allusions clear to her pupils. She plans how to put the chil- 
dren in the state of mind necessary for the appreciation of 
the beauty, the pathos, the humor, or the emotion, of the 
selection to be read; how to arouse sympathy, admiration, or 
condemnation of the characters portrayed. And here we 
would caution the teacher against the danger of turning the 
reading lesson into a lecture on some object of natural his- 
tory, some place of geographical importance, some character 
of historical or mythological interest, by giving too much 
information on the subject, — information not closely per- 
tinent to the reading lesson. 

Only enough time and emphasis should be given to each 



READING LESSONS AND STUDY LESSONS 25 

point in the development to make the thought of the selec- 
tion clear to the pupil. 

The oral reading of a long selection often necessitates the 
development of the whole selection by paragraphs or longer 
divisions. One division of the selection may be indicated 
for the children to read silently within a limited time, the 
teacher stating the number of minutes to be allowed for it. 
When the time is up, the books are closed or the children 
lift their eyes from the page at a signal from the teacher, and 
then one of the children should be called upon to tell in 
his own words what they have read. 

Now, having mastered the thought and expressed it in his 
own way, the child probably feels little or no desire to read 
the selection aloud, unless some special object for doing so 
can be provided. This object may often be provided by 
causing the child to feel, as he reads aloud, that he has an 
audience. The teacher listens without a book, the pupils 
in the seats do the same. Sometimes groups of children 
may be allowed to go into the lower grades and read for the 
pleasure of the pupils there. At other times — on Friday 
afternoons or at the opening of the school day — one or more 
of the pupils may be asked to read to his classmates some 
story or poem which has been selected for this purpose with 
the teacher's help and prepared at home. 

During the regular oral reading exercise the pupils should 
be allowed to pass judgment on each other's reading. The 
teacher must bear in mind that such criticism, at such times, 
should be favorable as often as it is unfavorable, or even 
oftener. All criticisms must be supported by reasons. 

In the discussion of the lesson, the teacher should always 
direct her efforts toward drawing out honest opinion, good 
judgment, true appreciation, and whatever comment, 
ethical, practical, or other, that the selection is intended to 
arouse. Such questions should be asked at the end of each 



26 THE HALIBURTON TEACHER'S MANUAL 

division of the lesson as will encourage free, spontaneous, 
and animated discussion. Discussion of this sort helps to 
secure oral reading that possesses, to some degree, the same 
characteristics of freedom and animation. 

The type lessons given in Chapter III of this Manual will 
illustrate the foregoing, as well as some other, phases of the 
reading lessons and study lessons. 



m. DETAILED LESSON PLANS AND TYPE LESSONS 

Preliminary Lessons in Reading: 
Blackboard Work* 

A. Sentences Based on Action. 

The first reading lessons may be conducted as follows: 

The teacher calls one of the children to stand beside her in 
front of the class. She then says to the class: "I shall whis- 
per one word to Mary, to tell her what I wish her to do. 
Before I whisper it to her, Mr. Chalk will say the same word 
to her. Then Mary will do what Mr. Chalk and I have told 
her to do. You can't hear what I shall whisper to Mary, 
but you can watch and see how Mr. Chalk tells her to do the 
same thing that I tell her to do." 

Then the teacher says to Mary: "I will put on the black- 
board what I want you to do. That is the way Mr. Chalk 
talks to you. I will whisper to you the same thing that 
Mr. Chalk says and you must do it." 

Then the teacher writes the word Run on the board and 
whispers to Mary, "Run." 

When the class see Mary run, they know that the written 
word must be Run. 

All the children will be eager to take active part in receiv- 
ing and obeying this command of Mr. Chalk, and several 
children should be invited to do so, — with the result that 
the word Run is written on the blackboard several times. 

In this way the class should be taught the following impera- 
tive sentences: Jump, Walk, Dance, March, Sing, Whistle. 

Almost any girl in the class will be ready to sing, and any 

* See also Chapter V, first section, on p. 399 of this Manual. 
27 



28 THE HALIBURTON TEACHER'S MANUAL 

boy will be delighted to whistle. To make the interpreta- 
tion of the word March more realistic and hence of more 
vital and compelling interest, the teacher might shoulder 
the pointer, as soon as she has written the word on the 
board, and, walking with the measured tread of the soldier, 
show by her own act what the word is. 

The chief object of this first work is to fill the written word 
with meaning by connecting the act directly with it. Since 
the children obey the written words, the best way to begin 
the work is with silent reading, and this, rather than oral 
reading, should be emphasized for some time. 

At the close of every lesson from the blackboard, those 
Word Cards that show in type the words taught in script 
should be placed on the chalk ledge for drill. Each printed 
word should be placed just beneath its script form for an 
exercise such as is described in the Suggestions for Drills 
(see page 426 of this Manual). The Word Cards and 
Phonic Drill Cards are furnished by the publishers, D. C. 
Heath & Company, but may be made by the teacher herself. 

After the lessons described above, the teacher writes each 
of the known words twice, once with a capital letter and once 
with a small letter. She can easily show that it is the same 
word written twice, although the beginnings of the two words 
do not look exactly alike. Then she says: "Mr. Chalk will 
tell me twice to do something. As soon as he has told me 
the second time, I will do all that he tells me to do, — that is, 
I will do one thing twice." 

She then writes, Walk, walk. She walks across the room, 
stops, turns, and then walks back again. Certain pupils do 
the same thing, as many times as the sentence is written. 
In the same way they obey the following sentences: Run, 
run. Jump, jump. Dance, dance. March, march. Sing, 
sing. Whistle, whistle. 

Again, the words taught in script must be shown also in 



LESSON PLANS AND TYPE LESSONS 29 

type. Using the cards, as before, match up the script forms 
on the board with the type forms on the cards. 

The phonic work at this stage should consist mainly of 
exercises in Ear Training, Step I (see page 352). 

To teach the next sentences, the teacher may say: "You 
have shown me how you can do the same thing twice when 
Mr. Chalk asks you to do so. Now let us show how we can 
do two different things, both at once or one right after the 
other, when Mr. Chalk asks us to do so." 

She writes on the board the sentence, Walk and sing. 
Then she walks in front of the class, singing as she walks. 
Then, pointing to the new word and in the sentence, she 
says, "This new word is and." 

As usual, the sentence is written several times for the 
children to obey. Their attention should be called to the 
word and each time. In this way all of the following sen- 
tences may be taught: Run and sing. Run and whistle. 
Run and jump. Run and dance. March and sing. March 
and whistle. Jump and sing. Jump and whistle. Jump 
and dance. Walk and whistle. By this use of and, the action 
words may be used several times and in different combina- 
tions, so that the children may learn each word thoroughly, 
both with the capital initial letter and with the small initial 
letter. This is of prime importance, because any word, 
learned first with a capital letter, looks to the child like a 
different word when it is written with a small letter. 

To introduce the next sentences, the teacher says: "Let 
each of us tell what we can do. To do this we must use these 
two words, I can." As the teacher speaks the words / can, 
she writes them. She then says, "We are going to let the 
chalk say it first and then we will tell what we can do." 
She writes the sentence, performs the act, and then speaks 
the words, "I can walk." She says to the class: "Let us 
call this the game of 'making stories true.' As soon as the 



30 THE HALIBURTON TEACHER'S MANUAL 

chalk says / can, you must all be ready to do what the next 
word says." She writes a sentence, and then calls on some 
child to perform the act and then speak the sentence, or 
"make the story true." In this way she develops the fol- 
lowing sentences: I can run. I can run and sing. I can 
walk. I can walk and whistle. I can jump. I can jump 
and dance. I can march. I can march and sing. I can 
sing. I can sing and dance. I can whistle. I can whistle 
and dance. 

To teach an even greater variety of action sentences, con- 
tinuing the drill upon the known words, the teacher may 
develop the phrase to me. She says, "I shall ask some of you 
to come to me." (She writes the phrase to me every time 
she speaks it.) "I shall ask one to run to me, one to walk 
to me, one to dance to me, and one to march to me." She 
then writes the complete sentences; the children read 
silently, and then obey such commands as the following: 
Run to me. Walk to me. Jump to me. Dance to me. 
March to me. 

There should be no oral reading of these sentences unless 
the children take turns at the board, one standing there with 
pointer in hand, to follow with it the sentence corresponding 
to one of the commands he may give to a classmate. 

There must be exercises with the Word Cards to give the 
printed form of all new words. The Phonic Drill Cards, 
showing the key words that have been taught up to this 
time, may now be introduced for the purpose of beginning 
drill on the initial letters, their forms and sounds. If the 
teacher has covered the work outlined in Ear Training, 
Steps I, II, and III (see pp. 352-355), she may at this point 
institute regular drill on the following initial letters and 
sounds : R, r, S, s, D, d, J, j, M, m, W, w, and Wh, wh, con- 
ducting these drills according to the suggestions given in 
Training of the Eye and Vocal Organs (see page 356). 



LESSON PLANS AND TYPE LESSONS 31 

In this division of the work fourteen other action words, 
with as many new initial letters and sounds, are to be 
taught. 

The teacher begins the first of this group of lessons by 
saying: "When I speak of myself, I use this one tall letter, 
Z" — she writes the letter I as she calls its name — "but 
when I speak to you, I use this word, you." (She writes the 
word you as she speaks it.) "Now I will tell you, John, 
something I can do." She writes the sentence J can walk to 
you, and then "makes the story true" by walking to John. 
Then she speaks the sentence to John, "I can walk to you," 
running the pointer under the sentence as she speaks. She 
may then add: "You see, children, I made my story true. 
Now you may make true some other stories or sentences." 

She then writes the sentences given below. Before the 
children speak the sentences, they make the stories true, 
by running, jumping, marching, and so forth, to the teacher: 
I can run to you. I can walk to you. I can jump to you. 
I can march to you. I can dance to you. 

The teacher may easily vary the sentences by teaching the 
word You, written with a capital initial. She says, "This 
word You"- — writing it as she speaks — "is written here 
with a large letter, or a capital letter, as we call it. I shall 
write some things that you may do" — writing the word 
may. "Every sentence will begin with this word You, 
written with a capital letter." 

She writes and the children obey the following sentences : 
You may walk to me. You may run to me. You may march 
to me. You may dance to me. You may jump to me. You 
may sing to me. You may whistle to me. 

The children will soon understand that sing to me and 
whistle to me call for no action except standing up when they 
whistle or sing. This exercise calls for silent reading. If 



32 THE HALIBURTON TEACHER'S MANUAL 

the sentences are read orally, they must be given as commands 
by one pupil to another. 

The Phonic Drill Card showing the key word You and 
the initial letter Y must be added to the Cards by which 
the class is already being drilled. 

A somewhat different order of development is necessary in 
teaching the words Hide, Look, Quick, and the phrase be quick. 

The teacher says, "How many of you like to play at 
hiding? ... I see you all do. Very well, we will play at 
hiding, but you must not be slow in playing this game. You 
must be quick." (She writes the phrase be quick as she speaks 
it.) "I shall write here at one side of the blackboard the 
words, Quick! be quick." (She writes the phrase be quick as 
she speaks it.) "When any one of you is too slow, I will 
point to the words, Quick! be quick." (She runs the pointer 
under the phrase as she speaks it.) "When I point to these 
words, or speak them, you must move faster. Now who 
wishes to do this? " (She writes the word Hide and speaks it.) 
"Before anyone is ready to hide, I will write at this other 
end of the board the word Look." (She writes the word Look.) 
"I shall let Henry hide. Come to me, Henry. The rest of 
you will put your heads down on your desks and keep your 
eyes closed until I call out this word, Look." (She points 
to the word Look.) "Then the one to whom I shall say, 
Look, when you all open your eyes, may look for Henry, 
who will have hidden himself. Before we begin the game, 
let us see if we know all the words that we are to use in it." 

Then should follow a rapid and lively drill on the words 
Hide, Look, Quick, be quick. 

The children will take great interest in mastering the 
words if they realize that as soon as they know the words 
they may play the game and direct their classmates by 
pointing to the words and saying, "Hide," or "Look," or 
or "Quick! be quick." 



LESSON PLANS AND TYPE LESSONS 33 

The children should be taught to recognize all these words 
when written with capitals as well as with small letters. 

The few words introduced up to this point will have been 
used over and over by this time and should have become 
thoroughly familiar to the children both in script and type, 
capitalized and written with a small letter. 

A very important part of the preliminary work on the 
blackboard is teaching the children to read with proper ex- 
pression. Sentences beginning with the word See, for 
example, are almost invariably read by young children with 
the wrong inflection, — that is, as if the sentences were 
interrogative instead of imperative. 

The teacher may start her class on the right track and 
keep them in it by saying, "When people wish others to look 
at them or watch them while they are doing anything, they say, 
Watch me do this or See me do this. Now let us do some things 
and ask the class to watch us, or see us do them. I will begin. 

"Watch me walk." (She speaks the sentence, but does 
not write it, and walks across the room.) "See me walk." 
(She speaks the sentence and walks back.) "Watch me 
march." (She speaks the sentence and marches.) "See 
me march." (She speaks the sentence and marches back.) 

The teacher must be careful to say See me exactly as she 
says Watch me. There is no need to teach the word Watch 
at this time. 

The children may next be told to make true the stories 
below, after a silent reading only and before any one of 
them is spoken (read aloud) : See me run. See me walk. See 
me jump. See me march. See me dance. 

The word now should be introduced in the sentences of the 
next lesson, and should be written with a capital and a small 
letter. The new word is taught by the teacher saying, 
"This word, Now" — she writes the word Now — "tells 
you when you may do a thing. I shall write and tell Tom 



34 THE HALIBURTON TEACHER'S MANUAL 

what he may do now.'*' She writes the sentence; then looks 
at Tom, saying, "Now you may run." After Tom has run, 
the teacher calls attention to the new word Now in the 
sentence. Then she writes, and has the children read and 
act the following sentences: Now you may jump. Now you 
may dance. Now you may whistle. Now you may walk. 
Now you may march. Now you may sing. Now you may hide. 

The following sentences, employing the same words, but 
in different order, may be taught next. The new element in 
this exercise consists in the opportunity offered for training 
in variety of expression. Certain words in each sentence 
are printed here in ordinary roman type to suggest to the 
teacher how she may show clearly and strikingly the im- 
portance of emphasis in determining the meaning of sen- 
tences. These words should not be underscored or differ- 
entiated in any way, however, save by oral emphasis. 

You may run now. You may jump now. You may dance 
now. You may whistle now. You may walk now. You 
may march now. You may sing now. You may hide noto. 

This exercise involves oral reading, of course. The chil- 
dren take turns in standing at the board, running the 
pointer under a sentence and speaking it as a command to 
another pupil. 

The Phonic Drill Card showing the word Now should be 
added to those which are already in use for drill on initial 
letters and sounds. This word, with You, Hide, Look, 
Quick, and their initial letters, have been taught in this 
group of preliminary lessons. 



In the next group of preliminary lessons the words per- 
taining to play with a rubber ball are taught. 

The teacher says: "How many of you like to play with a 
rubber ball? ... I see you all do. So do I. There are 



LESSON PLANS AND TYPE LESSONS 35 

several things that we can do with a ball. I can toss a ball." 
(She tosses the ball up and catches it.) "What can you do 
with a ball? Tell me and show me how you do it." 

Different children tell the different things they can do with 
a ball, showing how they do them; as, / can roll the ball, I 
can throw the ball, I can bat the ball, I can pitch the ball, I can 
catch the ball, I can kick the ball. 

The teacher then begins the lesson by writing on the 
board, See the ball. She reads this sentence and then points 
to the ball on the table. She calls special attention to the 
phrase the ball. The next sentence, Get the ball, is written 
on the board and spoken by the teacher, and then obeyed 
by one of the children. He afterwards speaks it (reads it 
orally) and one of his classmates obeys. The teacher re- 
writes the sentence every time it is read, calling attention to 
the new word Get. 

In the same way the following sentences may be taught: 
Bounce the ball. Toss the ball. Pitch the ball. Catch the 
ball. Kick the ball. 

After these sentences have been taught, the teacher takes 
the ball, writes the sentence, Up, up goes the ball, reads the 
sentence, and then tosses the ball high in the air. Several 
children read the same sentence when it is rewritten for 
them, each time tossing the ball as high as they can. Other 
sentences may be used also; as, Toss the ball up high, Kick the 
ball up high. Attention must be called to the new words 
Up, up, goes, and high. 

Taking the ball again, the teacher writes the sentence, 
It goes up high, reads the sentence, and then tosses the ball 
as high as she can. Several children read the same sentence 
when it is written again for action. Again taking the ball, 
the teacher develops in the same way the sentence, See it go 
up, up. Several children read the sentence; and attention 
is called to the new words It, it, and go. 



36 THE HALIBURTON TEACHER'S MANUAL 

To make the teaching of the words Hide and Find vital 
and interesting, the teacher may use the old-fashioned game 
of "Hide the switch," before the sentences are read, substi- 
tuting the ball for a switch. The game is played as follows: 

One child hides the ball while the others keep their eyes 
closed and their heads down on the desks. When he has hid- 
den it, he calls out to the class, "Look! " Then another child 
is called upon to come to the front of the room. The first 
child says to him, "Find the ball." As the second child moves 
away from the hidden ball in his search, the child who hid it 
calls out, "Colder, colder"; as he moves nearer to the hiding- 
place, the child who hid it calls out, "Warmer, warmer." 
This helps the seeker to find the ball without too much delay. 

After the game has been played without any sentences 
written or read, it should be played again as part of the 
reading lesson. The teacher writes the following sentences, 
which the children read and obey: Get the ball. Hide the 
ball. Find the ball. 

The game of "making stories true" may be used again with 
success in teaching the sentences below. The child reads 
the sentence silently, then speaks it (reads it orally), and 
finally puts the sentence into action. I can get the ball. I 
can bounce the ball. I can pitch the ball. I can catch the ball. 
I can kick the ball. I can toss the ball. I can hide the ball. 
I can find the ball. 

The W^ord Cards should be used to teach the printed forms 
of all new words; the Phonic Drill Cards, to teach the 
printed forms of the key words, their initial letters and 
sounds. The key words taught up to this point are Run, 
Walk, Jump, Dance, Sing, Whistle, March, Get, Look, Now, 
Quick, Up, You, High, Bounce, Pitch, Catch, Kick, Toss, 
Hide, Find, and It, with the initial letters R, r, W, w, J, j, 
D, d, S, s, Wh, wh, M, m, G, g, L, I, N, n, Qu, qu, U, u, Y, y, 
H, h, B, b, P, p, C, c, K, k, T, t, F,f, I, i. 



LESSON PLANS AND TYPE LESSONS 37 

B. Sentences Based on Objects and Pictures. 

This group of preliminary lessons is no less important than 
the three groups which preceded it. Many phrases, some 
of them merely grammatical forms, some of them idiomatic, 
which every child should know at sight before he attempts to 
read from a book, are taught in these lessons. Such phrases 
are: / saw, I have, You have, Is this, This is, Show me, Yes, 
That is, Do you, and the words know, what, and so on. Be- 
sides learning these phrases, the children should become 
familiar with the declarative and interrogative forms of the 
sentence, and with the period and the question mark. They 
should know at sight the words that name some of the com- 
mon objects about which they are to read in the Primer; 
the knowledge of such words is most important, since they 
furnish subject matter not only for seat work relating to 
reading, but for the reading itself. Among the name words 
to be taught at this stage of the work, those that occur early 
in the Primer or that are immediately necessary for other 
reasons should be given precedence. Such words are: ball, 
rope, drum, doll, bell, bird, nest, hen, chicks, duck, eggs, apples, 
violets, kitty, dog, rabbit, cow, pig, sheep, horses, oxen. When 
it is not practicable to have the object itself in the school- 
room, or even a toy representation of it, the teacher can use 
pictures or cardboard figures, colored and cut out by the 
whole class or by the older children. 

The children should know also the given names of the 
characters of whom they are to read in the Primer, Frank, 
Max, Grace, and Alice. It is well for the class to become 
somewhat better acquainted with the Primer, so that they 
may have enough interest in the book to look forward eagerly 
to the time when they may read it. Their interest may be 
heightened by teaching them how to handle the book properly 
and care for it, and by giving a little study to the illustrations 
of the Primer, preliminary to reading from the book. 



38 THE HALIBURTON TEACHER'S MANUAL 

The first sentences taught in this group of lessons, based 
on objects and pictures, may contain the phrase / have. 

Taking up the ball, the teacher writes the sentence, / have 
the ball, and then speaks it. She allows a child to select one 
of the other objects, as the drum. She tells him that he is 
to tell her what he has, but not until after she has written 
what he will say. She writes the sentence, J have the drum, 
and the child reads it, or speaks it, as the class has been 
taught to call reading aloud. 

In this way all of the following sentences may be learned: 
I have the apples. I have the violets. I have the eggs. I have 
the chicks. I have the hen. I have the horses. I have the 
sheep. I have the oxen. I have the kitty. I have the dog. 

Such an exercise will be interesting and full of activity 
when the children are urged to think, move, and speak 
rapidly. Each child takes up the object mentioned in the 
sentence, and, holding it up before the class, reads the sen- 
tence that tells what he has. Since the words apples, chicks, 
eggs, violets, and oxen are to be used as key words in teaching 
the form and sound of the initial letters, a, e, ch, v, and o, 
drill upon these words is very important. 

The next sentences introduce the phrase You have. The 
teacher directs a pupil to hold up any object he chooses, 
— for instance, the bell. She then writes the sentence, You 
have the bell, and, looking at the child, she speaks it. An- 
other member of the class is then allowed to come to the 
board, run the pointer under the sentence, and speak it to 
the child who holds the bell. Other sentences to be taught 
here are: You have the drum. You have the doll. You 
have the rope. You have the ball. You have the rabbit. 

These sentences will be used to add variety and natural- 
ness to the next group of sentences, in which are introduced 
the longest sentences yet presented to the class. 

The teacher hides one of the objects behind her, or in the 



LESSON PLANS AND TYPE LESSONS 39 

folds of her dress, — perhaps the doll. She writes, and then 
asks the class, as she runs the pointer under the sentence, 
"Do you know what I have?" The child called on peeps 
to find out what the object is and then whispers to the 
teacher, "You have the doll." The teacher says, "I will 
write just what you said and you may say it to me again out 
loud from the board." She writes the sentence and then runs 
the pointer under it for the child to read aloud. In this way, 
the class reviews the group of sentences taught last. The 
new lesson appears on the board somewhat as follows: 

Do you know what I have? 
You have the kitty. 
Do you know what I have now? 
You have the rabbit. 

Although the pupils are not yet ready to read from the 
book, the teacher may begin to introduce the class to the 
Primer in the ways suggested. She may show them how 
to care for the book — that is, how to open and shut it 
properly — may show them which is the front and which 
is the back of the book, and tell them that they will go from 
the front toward the back of the book as they read it through. 
She may then tell them that it is a storybook, — a book 
that tells the story of some boys and girls, of about the 
same ages as themselves, and the good times they had. She 
promises that by and by she will tell them at each lesson a 
part of the story and that they will read it for themselves. 
She then offers to tell them at once the names of the boys 
and girls in the storybook. 

She selects some picture in the Primer which shows 
Frank, Alice, Grace, and Max. The picture on page 45 is 
perhaps the most suitable for this purpose. Pointing to the 
different children in the picture, the teacher says, writing 
each name only, on the board, as she speaks: "This tall boy 



40 THE HALIBURTON TEACHER'S MANUAL 

in front is Frank. This tall girl is Grace. The smaller girl 
is Alice, and the smaller boy is Max." 

She then asks some child to hold up his book and show her 
Frank; she points to the name on the board as she says it. 
The names of the other children in the picture should be 
reviewed and fixed in the pupils' minds in the same way. 

As a next step to fix the new names, she holds up her book 
and, pointing to Frank in the picture, says, "Who is this? 
Show me his name on the board." In this way she drills the 
pupils upon all the names until they know the four Primer 
children, Frank, Max, Grace, and Alice. 

The teacher next writes and speaks the following sentences 
for the children to obey: Show me Grace. Show me Alice. 
Show me Max. Show me Frank. 

The next group of sentences consists of stories for the 
children to make true. J can show you Grace. I can show 
you Alice. I can show you Frank. I can show you Max. 
This exercise is interesting to the children when they are al- 
lowed to make each story true by holding up the picture and 
pointing to it, as they speak the sentence from the board. 

In an exercise of the same kind the following sentences 
may be taught: This is Frank. This is Grace. This is 
Alice. This is Max. 

The teacher begins the next lessons by telling the class 
that she will write the questions for them to ask each other 
before they speak them, but that she will write the answers 
after they speak them. 

She starts the lesson by writing the question, Is this Max? 
Then she holds up her book and points to one of the other 
children, — not Max. Of course, the pupil she calls on 
knows it is not Max. So he says, "No, that is not Max." 
Or he may say, "No, that is Frank." The teacher writes 
his answer and requires him to read it. Two other children 
are then called upon to read the question and the answer 



LESSON PLANS AND TYPE LESSONS 41 

again. The questions and answers will appear on the 
blackboard somewhat as follows: 

Is this Frank? No, that is not Frank. 

Is this Grace? No, that is not Grace. 

Is this Max? No, that is not Max. 

Is this Alice? No, that is not Alice. 

Is this Grace? Yes, that is Grace. 

Is this Frank? Yes, that is Frank. 

Is this Alice? Yes, that is Alice. 

Is this Max? Yes, that is Max. 

This exercise, which requires oral reading, offers excellent 
training in correct, varied expression. 

A lively lesson with which the teacher may bring to an 
end the preliminary blackboard reading lessons partakes of 
the nature of a game, in which the new phrase to be taught 
is I saw. The teacher writes the phrase I saw, and says, 
"These words say I saw. We are going to play a game in 
which one of you will whisper to me what he saw in your 
book, and then the chalk will tell the class what it was that 
he whispered to me." 

Following the teacher's instructions, a pupil picks out one 
of the Primer children from a picture in the book — Max, 
for instance — holding his book so no other pupil can see 
which picture he looks at. Then closing his book, he whis- 
pers to the teacher, "I saw Max." The teacher writes this 
sentence for someone to read. In this way the following 
sentences may be quickly taught : I saw Max. I saw Grace. 
I saw Alice. I saw Frank. The pupils should be allowed 
to pick out and use thus any object pictured in the Primer, 
whose name the pupils know; as, for instance, / saw a rabbit. 

If the Word Cards have been used as we have recom- 
mended, the children will recognize the printed forms as 
easily as the script forms of all the words that have been 



42 THE HALIBURTON TEACHER'S MANUAL 

taught them. From the use of the Phonic Drill Cards, 
they will also know the key words, apples, eggs, oxen, violets, 
chicks, show, this, and know, with their initial letters and 
sounds, a, e, o, v, ch, sh, th, and kn. 

The children will learn the letter x with its sound from the 
word Max. The teacher should use the word thank very 
often in her talks with the children, and whenever she uses 
it she should write it on the board. 

Although no child at this early period is expected to write, 
the foundation for his writing should be laid in his making 
ovals and other regular exercises. He may be told fre- 
quently to follow the teacher's movements, as she writes on 
the board, with his finger uplifted in the air. The teacher 
calls this writing in the air. She may teach the word write, 
merely to connect the act with the word, in the following 
way: When the class is ready for the writing movement, the 
teacher writes on the board as she speaks the command, 
Write for me, or You may write. The children will learn the 
word write as one of the key words. 

The phrases taught up to this point are: to me, to you, You 
may, See me, he quick, I can, 1 have, You have, Do you, Show 
me, This is, That is, I saw, Thank you, Is this. 

Besides these phrases, the following action words have 
been taught: run, get, pitch, catch, bounce, toss, kick, hide, 
find, jump, walk, dance, sing, whistle, look, march, write. 

The name words taught are: Frank, Alice, Grace, Max, 
ball, rope, hen, chicks, bird, kitty, nest, drum, doll, bell, dog, 
apples, violets, eggs, horses, oxen. 

The other words are: now, what, know, and, up, high, not, 
yes, go, goes, and the, — which is always to be taught with its 
noun, as a phrase. 

If the work outlined above has been thoroughly taught, 
reading the Haliburton Primer will be easy work. The lines 
along which progress will be safe, and sure, and permanently 



LESSON PLANS AND TYPE LESSONS 43 

valuable will have been definitely established, and the 
young students will find themselves far on their way, with 
their initial impetus, not spent, but rather strengthened 
daily by interest in the book. 

Detailed Lesson Plans in Reading from the Primer 

A. Introduction 

The Primer Story given in this Manual is a story with a 
purpose, — in fact with more than one purpose. As a mere 
story it may lack in vivid interest, as do most stories with a 
purpose, but, if rightly used, it will prove to be of great help 
to the teacher. 

Since the Primer itself is a continued story, there may seem, 
at first glance, no necessity for the Primer Story as given in 
this Manual. The inability of the beginner in reading, 
however, to master any but the shortest, simplest, and easiest 
of written or printed sentences necessarily limits the story, 
as set forth in the Primer itself, to what is merely the skeleton 
of a story which must be filled out orally, by the teacher, to 
the form of a real story. This amplified, real story is given 
in this Manual as the teacher should tell it, bearing in mind 
the following points: 

(1) Continuity is as much to be desired in the child's very 
first reading as in that of any later period. To make obvious 
to the child the real continuity in the simple sentences of the 
Haliburton Primer is the first purpose of this Primer Story. 

(2) That the reading matter be interesting is another 
essential for the early books in reading. To make interesting 
such short, easy sentences as must be used in the child's 
own working book is the second purpose of this Primer Story. 

(3) It is generally admitted that each new word in a 
reading lesson should be given to the child, as a whole, or 
sight word, that the word should be full of meaning and, 



44 THE HALIBURTON TEACHER'S MANUAL 

if possible, of interest. To gain these two ends, the teacher 
must present each new word in its textual relation, and 
immediately thereafter write or print it for the child to see, 
so that he may get its meaning and its form simultaneously. 
To provide opportunity for teaching, using, and drilling the 
new words is the third purpose of the Primer Story. Telling 
a continued story usually calls for several spoken repetitions 
of any one word and hence furnishes the opportunity for 
speaking and writing it as many times as may be necessary. 
(4) The reading of simple dialogue produces the most 
satisfactory results in expression if the beginner understands 
clearly who is speaking as well as what is being said. Yet 
this understanding should be secured if possible without 
giving to the beginner a book which contains several different 
kinds of type on each page, in some such confusing arrange- 
ment as the following: 

Frank: Run. 

Alice: Run, run. 

Grace: Now stop. 

Frank: Stop, stop. 

The teacher is strongly advised to tell her class the Primer 
Story as the best way of making clear to the children who 
is supposed to be speaking, to whom he is speaking, how 
many sentences are supposed to be spoken by one person 
before another speaks, etc., — all of which fulfills the fourth 
purpose of the Primer Story. 

The teacher may add anything to the Story as given in 
this Manual that will help her to give life and animation to 
the story and so to fill it with vital interest. She must, how- 
ever, stick to the text to the extent of using the very sentences 
that are to be read a little later by the children from their 
Primer lesson. The skillful teacher can do this in a natural 
conversational style and she can, at the same time, by an 



LESSON PLANS AND TYPE LESSONS 45 

animated manner, make the story interesting to the little 
people, who will then become eager to read their Primer 
lesson. To be sure, what they will actually read is only the 
few, short, simply worded sentences in the Primer lesson, but 
it will seem to them as if they really read every full, glowing 
sentence that they heard fall from the lips of their vivacious 
teacher, and their reading will be correspondingly intelligent. 

The teacher will find it worth while to read over, Primer 
in hand, more than once before the recitation period, that 
section of the Primer Story which corresponds to the day's 
reading lesson. In some circumstances, it may seem to 
the teacher desirable to read to the pupils the lesson section 
of the Primer Story from the Manual, rather than to tell 
it, but such occasions should be exceptions and not the rule. 

The lesson picture is to be studied by the class as part of 
the preparation for reading the sentences in the Primer. 
These pictures may be used for posing, for pantomimic 
exercises, or for dramatizing. The teacher should point out 
that the sentences on the pictured page always represent the 
conversation of the children shown in the picture. This 
understood, the pictures help the children greatly in reading 
the dialogue in which the Primer abounds. The Primer 
Story is based chiefly upon the illustrated lessons of the 
Primer. In many cases the picture also suggests the seat 
work for the lesson. The teacher should bear in mind that 
the pictures were placed where they are, not only to adorn 
the pages, but to extend the usefulness, and so enhance the 
value, of the reading content. 

At the bottom of some of the Primer pages (3, 5, 7, etc.) 
will be found the key words, with the corresponding initial 
letters. Any child who was not present for the exercises 
upon these words and letters during the Preliminary Lessons 
in Reading with the rest of the class will have the oppor- 
tunity of learning to use the key words with their initial 



46 THE HALIBURTON TEACHER'S MANUAL 

letters and sounds when he comes to them in his Primer. 
For those who have learned them in the preliminary black- 
board work, the key words and initial letters at the bottom 
of the Primer pages may be treated as review work in ear 
training, or any other kind of drill. 

At the close of each lesson given in detail in this Manual 
will be found lists of words in word families. These lists 
are not to be found in the Primer except in a few pages near 
the end. There is an important reason for thus giving lists of 
words for phonic exercises at the close of each of the early 
reading lessons in the Manual, but not in the Primer itself. 
We wish to emphasize the fact that mechanical drill and 
reading are two separate and distinct processes and as such 
should be kept apart, especially in the earliest reading. That 
is to say, during the reading period the child should think and 
read with as little interruption as possible, and with no dis- 
traction from the thought of the lesson; and, at the period 
for phonic exercises, the child should be put through the 
purely mechanical drill with as much speed and vigor as 
possible. Yet the lists of words drilled upon should be deduced 
as often as possible from words learned as wholes in a previous 
reading lesson; hence the arrangement in the Manual of 
lists of words for phonic exercises. These lists in the Man- 
ual are to be written on the blackboard by the teacher. The 
use of these word lists may well be supplemented by work 
from the Haliburton Phonetic Chart, supplied by the pub- 
lishers, D. C. Heath and Company. The teacher should 
note especially that these phonic exercises for the blackboard, 
introduced in the Manual, are not to be used for word drills 
— since similar exercises to teach the words are given in the 
Phonetic Chart and again in the First Reader — but as 
phonic drills, pure and simple. 

By the time they reach page 29 of the Primer, the pupils 
should know how to "dig out" for themselves simple words 



LESSON PLANS AND TYPE LESSONS 47 

containing the short sounds of the vowels. They are shown 
the way to do such "digging out" when, at the drill period, 
the teacher covers some of the letters in a known word, 
calling upon the children to give the sounds in the word one 
after another until the whole word is pronounced, according 
to directions given later on. 

The procedure in teaching the Primer lessons changes 
somewhat as the work advances, but it follows generally 
the steps given below: 

1. Study and discussion of the lesson picture. 

2. Telling the Primer Story. 

3. Dramatization of the lesson picture; Primer Story. 

4. Reading the Primer lesson. 

5. Drill on words given in Phonic Exercises. 

The teacher will find that the Primer falls into four groups 
of lessons. 

The first group (pages 1-21) is composed of lessons about 
the Primer Children's outdoor play, — running races, play- 
ing ball, playing at hide and seek, jumping rope, etc. This 
whole section of the Primer may be treated under the head 
of Outdoor games. The teacher's talks with her class and 
the school recreation exercises at this time may center around 
games; the teacher might even participate in her pupils' 
outdoor recreation. 

The second group of reading lessons (pages 22-37) is com- 
posed of lessons about the Primer Children's baby sister. 
The teacher's talks may at this time deal largely with her 
pupils' baby brothers and sisters at home, how they play 
with them, sing to them, care for them, and so forth. 

The third group of reading lessons is a large group (pages 
38-111). It is composed of lessons that tell of the Primer 
Children's visiting Cousin, of the pets which they so proudly 
exhibit, and of the dumb creatures about which the little 
cousin from the city knows so little. 



48 THE HALIBURTON TEACHER'S MANUAL 

The last group of lessons is the smallest (pages 112-121) 
and is composed mostly of Mother Goose rimes. (See the 
suggestions in Chapter V, page 403.) 

B. Lessons Complete 

Lesson I, Page 1 of Primer 

The teacher's first talk may be somewhat as follows: 
How many of you like to have someone tell you a story? 
You all do, I know. You like to have someone read to you 
from a storybook, too, don't you? Well, don't you all wish 
you could read a storybook for yourself? I am sure you will 
be glad when you can do so, and that time is not so very 
far off. This little book (showing the Primer) is the first 
storybook that you are going to read for yourselves. It is 
the book that tells about the children whose pictures I 
showed you, — Frank, Grace, Alice, and their little cousin, 
Max. It tells about the children's baby sister, and about 
their pets, about the places to which they go and all the good 
times they have playing together. 

Who can tell me some games that you like to play? How 
many have played Hide and Seek? How do you play it? 
You know how to play Hide the Switch, I know. What 
else do you play out of doors? 

The children will probably speak of jumping rope, playing 
ball, etc. The teacher should lead them to talk of running 
races if they do not mention this of their own volition. 

Picture Study. — Following the teacher's directions, the 
children find the picture on page 1 of the Primer. After 
studying it a while, they tell what they think the children 
are doing. One child may say that the children are chasing 
the ducks and geese. Another may say that he thinks they 
are trying to catch the kitty-cat. The teacher should have 



LESSON PLANS AND TYPE LESSONS 49 

as many pupils as possible tell something that they see in the 
picture, or, better still, something that they think about it. 

Primer Story. — You have seen the picture of Alice, 
Grace, Frank, and Max. You remember I showed them to 
you. The book doesn't tell anything about Max just at 
first, but we will read about him a little later on. 

Grace and Alice are two little girls who live in the country, 
and Frank is their brother. They have a little sister whom 
they call Baby; but we will not look for her picture just yet. 

These children have happy times playing together. One 
of the things they like to do is to run races. Sometimes 
Frank beats, or wins, the race, and sometimes Grace beats. 
Alice is such a short, dumpy, little girl that she can't run 
fast, and always falls behind in the races. Grace and Frank 
call her "Slow Coach," and whoever beats the race Alice 
calls "Lightning Express." Sometimes Grace is "Lightning 
Express," but more often Frank is. 

One day they were running races across the back yard and 
Lad, Frank's little dog, was running with them, barking 
and yelping in great glee. They made so much noise as 
they ran shouting and laughing across the yard, that the 
ducks and geese ran before them flapping their wings and 
squawking shrilly, and the kitty-cat rushed up the tree. 

When they were all ready to start another race, Frank 
said, " When we are all in a straight row and ready to start, 
I'll say, 'Run!'" (The teacher writes the word Run on 
the board.) "The one who gets to the big tree first, will 
say, 'Now stop ' " — the teacher writes the words Now stop on 
the board — "and the rest of us must stop that very minute 
so we can see who is ' Slow Coach ' in this race, and how far 
behind he is." 

Little Alice soon fell behind the others, but she called out, 
"Run, run." (The teacher writes the words.) Grace got 
to the tree first, and as she put out her hand to touch the 



50 THE HALIBURTON TEACHER'S MANUAL 

tree, she called out, "Now stop!" (The teacher again writes 
these words.) Alice didn't stop quickly enough and Frank 
called out "Stop, stop." (The teacher writes the words.) 

These lessons are described here so minutely that, if the 
teacher wishes to do so, she can omit the Preliminary Lessons 
in Reading from the Blackboard and begin reading from the 
Primer on the first day of school. This, however, is not ad- 
vised. If the preliminary blackboard reading has been done 
as prescribed, the class will be able to read several Primer 
pages at each lesson. 

Reading from the Blackboard. — The teacher should plan 
her questioning so that the children's answers will reproduce 
the text of page 1, — the same sentences in the same order. 
This is simple enough to do. 

She asks: "Now, what was it that Frank said when they 
were ready to start?" (She points to the word Run and 
waits for the children to give it.) "What did Alice call out 
as she ran?" (Points to the words Run, run, and the 
children give them.) "What did Grace say as she reached 
the tree?" (Points to the words Noiv stop, as the children 
give them.) "What did Frank say when Alice did not stop 
soon enough?" (Points to the words Stop, stop, as the chil- 
dren give them.) 

The words should then be arranged thus on the board: 

Run. 

Run, run. 

Now stop. 

Stop, stop. 

For a rapid review of the sentences, the teacher hands the 
pointer to first one and then another child, saying, "What 
did Frank say first? What did little Alice say? What did 
Grace say when she reached the tree? What did Frank say 
when Alice didn't stop soon enough?" 



LESSON PLANS AND TYPE LESSONS 51 

To answer these questions, the children should read aloud 
the sentences on the blackboard with the rapidity of speech 
natural in answering questions. They should run the 
pointer under the sentences corresponding to what they read. 

Dramatizing the Lesson Picture and Primer Story. — After 
hearing the Primer Story and before reading the lesson from 
the book, three of the children may be allowed to pose the 
lesson picture on page 1 of the Primer. Racing may be con- 
sidered by some as a kind of dramatization too noisy for the 
average schoolroom, but 'posing is noiseless. If, however, 
the teacher chooses to try it, she will probably find that it 
pays to begin the work of dramatization with a situation as 
simple and natural as one developed from a story and picture 
like this. The children may be taught to run lightly — 
almost, if not quite, noiselessly — across the room, to touch 
the blackboard or wall for the make-believe tree. Some 
boy will be only too happy to run and bark "Bow-wow-wow," 
in the character of Lad, the little dog. The sentences of the 
lesson will be called out by the little actors in the most natural 
tones, when dramatizing the Primer Story, and the children 
will instinctively use the same tones when reading the same 
sentences in the Primer lesson. 

Reading from the Book. — After dramatizing the lesson, 
the children will read it from the printed page of the book 
with good expression. 

Drill on Printed Words. — Stop is the only new word in 
the lesson, if the blackboard work has been done as previously 
described. The printed word stop should be shown on the 
Word Card and in script on the blackboard, as suggested at 
the beginning of these detailed lesson plans. We shall not 
refer again to such drill on new printed words, since such 
drill is to be taken for granted as part of every lesson until 
print and script become equally familiar to the class. 

Exercise in Phonics. — The teacher should review the key 



52 THE HALIBURTON TEACHER'S MANUAL 

words and their initial letters and sounds after every reading 
lesson until all the class knows them thoroughly. 



Lesson II, Page 2 

Picture Study. — The pupils study the lesson picture on 
page 2, — after which the teacher encourages them to talk 
about it. 

Primer Story. — The next day Frank told Alice he could 
catch her even if she started running several yards ahead of 
him. Alice ran as fast as she could, and Frank ran after her, 
calling out, "Run, Alice, run." Alice soon grew tired of 
running and cried, "Stop, Frank, stop." 

Reading from the Blackboard. — (See page 33 for caution 
on teaching sentences beginning with the word See.) The 
children should read the script sentences as answers to the 
teacher's questions in the following plan: "I wish you to 
see Frank as he looked when chasing Alice." (The teacher 
holds up her book, points to Frank in the picture, and speaks 
the following imperative sentence as naturally as possible, 
with no suggestion of interrogation: See Frank. She then 
writes the sentence.) "I wish you to look at Alice." (Points 
to Alice and speaks the following sentence before writing it, 
as before, See Alice.) "I wish you to see Alice run." (Points 
to Alice, speaks and writes the next sentence, See Alice run.) 

"Now, how do you tell me who it is that you wish me to 
see?" (The teacher points to the first sentence on the board 
and the child reads, See Frank.) "Whom do you wish me to 
see or look at next?" (The teacher points to the next sen- 
tence and the pupil reads, See Alice.) " What do you wish 
me to see Alice do? " (See Alice run.) "This is what Frank 
called out to Alice." (The teacher writes and child reads, 
Run, Alice, run.) "This is what Alice called out to Frank." 
(The teacher writes and the child reads, Stop, Frank, stop.) 



LESSON PLANS AND TYPE LESSONS 53 

Dramatization of the Lesson Picture. — Two of the children 
take the positions shown in the picture and repeat what they 
can remember from the Primer Story of the conversation 
between Alice and Frank. 

Reading from the Book. — The class read page 2. 

Drill on Printed Words. — The words see, Frank, Alice, 
need no special drill. See is the only one of the three to be 
found among the Word Cards, which do not include the 
names Alice, Frank, Grace, Max. 

Exercise in Phonics. — The teacher writes the word stop 
on the board for a type word and the following words for 
drill. (See Phonetic Chart, Group (12), page 376.) 



stop 


hop 


chop 


drop 


flop 


top 


pop 


shop 


prop 


slop 



Lesson III, Page 3 

There is no picture to be studied in this lesson except the 
one on the preceding page. Neither is there any part of the 
Primer Story to be told. The only new word to be developed 
is the word Do. To introduce the written form of this word, 
the teacher may hold up her book, point to Frank in the 
picture on page 2, and ask as she writes the question, Do you 
see Frank ? Calling attention to the new word Do, she may 
say: "This is the word with which we sometimes begin a 
question, and this mark" (pointing to the question mark) 
"is the one that we always put at the end of a question when 
we write it. You must always watch for the question mark 
when you read." The teacher may drill on the word do, 
with capital and with small letter. 

Then the pupils are ready to read page 3 of the Primer. 
As will be seen, the sentences are in three groups. The 
children should be told that the first group of sentences, 
tells us something about Alice and Frank; that, in the second 



54 THE HALIBURTON TEACHER'S MANUAL 

group of sentences, Alice is talking; and that, in the third 
group of sentences, Frank is talking. 

Exercise in Phonics. — The children should pronounce the 
word run, shown at the bottom of page 3, and give the sound 
of the letter r. They should then be asked to give as many 
words as they can that begin with the same sound as run. 
The teacher may lead them to do this by giving such words 
as r-edy r-ace, r-ide. From this exercise the children are 
led to give, of their own initiative, other words that begin 
with the sound of r. The Phonic Drill Card bearing the 
word run should be used in a review drill upon the form and 
sound of the letter r. We shall not refer again to this use 
of the key words and their initial letters and sounds. Key 
words are given at the bottom of many pages in the Primer 
for the purpose of review. 

Lesson IV, Page 4 

Picture Study. — The pupils tell what they think the 
Primer Children are saying and doing. 

Primer Story. — One day Father gave Frank a large 
rubber ball. Frank wanted Alice to see how he could kick 
it. and pitch it, and how it could roll and bounce over the 
ground. When Alice came, he sent the ball flying over the 
ground toward her and cried: "See the ball. Get the ball. 
Get the ball, Alice. Run, Alice, run." 

Alice ran and picked the ball up. She came back to Frank 
and then she tried to pitch the ball as Frank had done. But, 
though she could roll the ball, bounce it, and toss it, she could 
not kick it or pitch it. So she cried, "Get the ball, Frank. 
Run, run, Frank. Now get the ball." 

Reading from the Blackboard or Book. — As there are no 
new words in this lesson, there may be no necessity for writing 
the sentences on the board. There is very little action in 



LESSON PLANS AND TYPE LESSONS 55 

the lesson picture, but this one, together with the next five 
pictures, forms a series of excellent pictures for posing. 
Hearing the Primer Story before posing the picture should 
enable the pupils to repeat naturally what the Primer 
Children in the picture are supposed to be saying. 

The printed page of the Primer will then be read easily 
and naturally, as a conversation between the two pupils 
who take the parts of Alice and Frank. 

Phonic Exercise. — Using the word run as a type word, 
for a drill upon the un word family, the teacher may give the 
following words for the pupils to sound (See Phonetic Chart, 
Group (28), page 378): 

run fun sun 

bun gun shun 

Lesson V, Page 5 

There are no new words in this lesson. The children will 
read the sentences with ease and with good expression if they 
are made to understand that they are talking about the chil- 
dren shown in the picture on page 4, and if the teacher calls 
for the sentences as answers to what she asks; for example, 
the first group may be treated as follows : 

Teacher: Pupil: 

Tell me one person you see. I see Alice. 
Tell me two people you see. I see Alice and Frank. 
Tell me what Alice sees. Alice sees the ball. 

Tell me who else sees the 

ball. Frank sees the ball. 

Tell me what Alice and 

Frank do. Alice and Frank run. 

Tell me to see Alice and 

Frank run. See Alice and Frank run. 



56 THE HALIBURTON TEACHER'S MANUAL 

For the second group, the teacher says: 

Teacher: Pupil: 

Ask me a question about 

Alice. Can Alice get the ball? 

Ask me a question about 

Frank. Can Frank get the ball? 

Who can get the ball? Frank can get the ball. 

Speak to Alice four times. (Last four sentences.) 

Exercise in Phonics. — Using the word can as a type word, 
the teacher may give the following words for drill on the an 
word family (see Phonetic Chart, Group (4), page 375). 

can fan Pan tan 

Dan man ran van 

Lesson VI, Page 6 

The teacher should note that from pages 6 and 7 to pages 
28 and 29 the text under the picture on the left-hand page 
represents a conversation between the Primer Children, 
which is to be read as a dialogue, while the text on the oppo- 
site page represents a talk about the Primer Children. 
Throughout this section of the Primer, it is only in develop- 
ing the lesson on the picture page that the teacher gives a 
section of the Primer Story. 

Study of Picture. — The children tell what they think 
Alice and Frank are doing and saying. 

Primer Story. — One day Alice asked Frank to teach her 
how to play ball in the right way. She said to Frank: "Get 
the ball. Get the ball, Frank. Pitch the ball." Frank 
said: " Can you pitch the ball? I can pitch the ball to you." 

Then he threw the ball. Alice tried to catch it by holding 
up her dress for it, but the ball went flying by her. Then 
Frank said: "Stop the ball, Alice. Run and get the ball." 



LESSON PLANS AND TYPE LESSONS 57 

Alice ran and got the ball and Frank said, "Now you can 
pitch the ball." 

Dramatizing the Lesson Picture. — After the Primer Story 
has been told, two pupils may pose for the picture. They may 
be asked to remember that in the Primer Story Alice says 
only three things. 

Phonic Exercises. — Get should be used as the type word 
for the class drill on the et word family (see Phonetic Chart, 
Group (21), page 377). 



get 


met 


wet 


set 


yet 


let 


pet 


Jet 


Bet 


fret 



Lesson VII, Page 7 

The only new word in this lesson is the word said. This 
word the teacher presents in the following talk: 

"In this lesson we are going to tell some of the things that 
Frank can do with the ball, we are going to ask two questions 
about Alice, and we are going to tell what Alice said." 
(Writes the word said.) "Alice said" (writes the word 
said again) "three things to Frank, and then asked one 
question. Then we are going to tell what Frank said." 
(Points to the word said.) "He said three things to Alice." 

The teacher need not write this lesson on the board. The 
sentences of the first group should be read from the Primer 
in answer to the teacher's questions. 

Teacher: Pupil: 

What can Frank do? Frank can pitch the ball. 

To whom can Frank pitch Frank can pitch the ball to 

it? Alice. 

Tell me to see Frank pitch 

the ball. See Frank pitch the ball. 

Tell me to see Frank pitch See Frank pitch the ball to 

the ball to Alice. Alice. 



58 THE HALIBURTON TEACHER'S MANUAL 

Ask a question about Alice. Can Alice pitch the ball? 
Ask another question about Can Alice pitch the ball to 
Alice. Frank? 

The sentences of the second group are to be read in re- 
sponse to the following from the teacher: "Alice said three 
things to Frank. Tell me what three things she said." 
Pupil reads first three sentences of this group. "Then what 
question did she ask him?" Pupil reads: Can you pitch the 
ball to me? "Frank said three things to Alice. Tell me 
what he said." Pupil reads last three sentences. 

Phonic Exercise. — The word see is to be used as the type 
word in drilling on the ee word family (see Phonetic Chart 
Group (77), page 383). 

see fee zee thee 

bee wee tree three 

Lesson VIII, Page 8 

Picture Study. 

Primer Story. — Frank told Alice that no one should try 
to catch a ball in the way she did, and he showed her how to 
hold her hands. Then he took the ball and said: "Catch 
the ball. Catch it, Alice. Can you catch it?" 

Alice held out her hands and said: "Pitch it to me, Frank. 
I can catch it. See me catch the ball. See me run and catch 
it." 

Frank called out: "Run, Alice! Catch the ball." 

Dramatization of Lesson Picture. — Two children pose as 
Alice and Frank, as they appear in the picture. 

The teacher may begin to encourage the children from now 
on to read over silently the text of the new lesson, before the 
class is to recite, and so of course before they dramatize the 
lesson picture. She may remind the class that this will help 
them remember what Frank said — as, for instance, the first 



LESSON PLANS AND TYPE LESSONS 59 

three sentences and the last sentence — and what Alice said 
— the fourth, fifth, sixth, and seventh sentences. She may 
tell them that, when they pose or act the story, they will 
talk for Alice and Frank much better for having read it over 
silently beforehand. This may provide the first impulse to 
silent and thoughtful effort at preparatory reading, which is 
later to develop into the study of a lesson. From this point 
in the work on, the picture study assumes more and more the 
character of a lesson study. 

Reading from the Book. — There being no new words in 
this lesson, the children will be able to read it aloud at once, 
with ease and expression. 

Phonic Exercise. — The class should be taught to build up 
lists of words on a known word used as a basic phonogram, 
such as it, in, an, on. (See Phonetic Chart, Groups (18) and 
(13), page 376.) 



it 


hit 


quit 


lit 


in 


pin 


bit 


pit 


sit 


flit 


bin 


kin 


fit 


kit 


wit 


chit 


fin 


skin 



Lesson IX, Page 9 

The word did is the only new word in the lesson, if yes was 
taught, as prescribed, in the preliminary blackboard work. 
A good drill on the new word may be given in the following 
way: The teacher opens the book and shows for a moment 
some picture, as, for example, the one on page 1. She then 
writes and asks her own questions. She writes and the chil- 
dren read their answers aloud. 

Teacher: Pupil: 

Did you see Grace? Yes, I did see Grace. 

Did you see Frank? Yes, I did see Frank. 

Did you see Alice? Yes, I did see Alice. 



60 THE HALIBURTON TEACHER'S MANUAL 

The teacher drills on the words Did, did, and Yes, calling 
especial attention to them. The class may then read page 9. 

Exercises in Phonics. — (See Phonetic Chart, Group (14), 
page 376.) ^ ud M 

bid kid rid 

Lesson X, Page 10 

The only new word is like. The teacher says, "Let us 
tell what we like to do with a ball." Calling attention to the 
word like, she writes and reads, "I like to toss a ball." Then 
the children read aloud rapidly from the blackboard the 
following sentences: I like to kick a ball. I like to bounce a 
ball. I like to pitch a ball. I like to catch a ball. I like to 
toss a ball. 

Study of Lesson Picture. 

Primer Story. — Alice found that she couldn't catch a ball 
when Frank pitched it, and that she couldn't pitch it straight 
either. But she knew she could bounce a ball, so she said: 
"Bounce the ball, Frank. Can you bounce it? Pitch the 
ball to me. I can bounce it. I like to bounce a ball." 

She took the ball and began to bounce it, catching it as it 
bounced back from the ground. "See me bounce it," she 
said. "See me catch it. Bounce, ball, bounce." 

Dramatization of Lesson Picture. — The sentences on page 
10 are to be read by the class. 

Phonic Exercises. — (See Phonetic Chart, Group (145), 
page 390.) ball gall tall 

call hall mall 

fall wall small 

Seat Work. — The teacher can draw a brick wall on the 
board as suggested by the picture on page 10. On each 
brick in this wall, the teacher may write one of the sight 



LESSON PLANS AND TYPE LESSONS 61 

words taught in the series of reading lessons on the ball up to 
this time. As the children call the words, the teacher may 
"tear the wall down" by erasing the words. For seat work, 
each child may have the picture of a wall hektographed on a 
large sheet of manila paper, on each brick of which he is to 
place the Seat Work Cards (see page 419) that tell about 
the ball. This device — which may be used for othsr lessons, 
also — will familiarize the class, in an interesting way, with 
pitch, catch, bounce, toss, kick, get, etc. 

Lesson XI, Page 11 

The word him is the only new word in the lesson. The 
class can easily sound this, so no preparatory work on words 
is needed for this lesson, which can be read at once. 

Phonic Exercise. — (See Phonetic Chart, Group (15), page 
376') him trim 

dim swim 

Lesson XII, Page 12 

There are no new words in this lesson. 

Study of Lesson Picture. 

Primer Story. — Alice likes to toss a ball. And so, after 
she had bounced the ball for a while, she wanted to toss it 
up and catch it. She wished Frank to toss it first, however, 
and so she said: "Toss the ball, Frank. Toss it up, up. I 
can toss it up. I like to toss a ball." 

Then she took the ball from Frank and tossed it as high 
as she could, saying: "LTp, up! See me toss it. I can catch 
the ball. I can run and catch it. Can you toss it up and 
catch it?" 

The class may then read page 12 of the Primer. 

Exercise in Phonics. — The teacher should use the word 
up as a basic phonogram and hold drills on the list of words 



62 THE HALIBURTON TEACHER'S MANUAL 

built upon it; also on the words containing phonogram oss. 
(See Phonetic Chart, Group (32), page 378.) 

up sup toss loss 

cup pup moss gloss 

The teacher may introduce at this point a new kind of 
phonic exercise, which will help the children get new words 
for themselves, whether or not they happen to have had, 
in their phonic drill work, the combinations or phonograms 
composing the unknown word. All of the words which 
have been given to the class, both as sight words and in drills 
on different word families (run, can, get, and him, up, stop, 
it, did), may be divided into two sounds and also into three 
(except up and it). The teacher writes one of these words 
on the board and covers up all of the letters in it except the 
first. She has the class sound this letter, then the next, and 
then the last. Since she should uncover the letters in order, 
as rapidly as the pupils can sound them, the whole word is 
pronounced, but slowly. 

Seat Work. — The teacher may draw a rail fence on the 
blackboard, and write the known sight words on the rails. 
Then, as the children recognize the words on each rail, 
that rail may be "knocked down." This kind of device is 
interesting and humorous to little children. 

Lesson XIII, Page 13 

The phrase I have has been taught in a previous lesson. 
The new word with may be taught by the teacher speaking 
and writing the sentences which follow, calling attention to 
the new word : I saiv Frank with a ball, I saw Alice with a ball. 

Exercise in Phonics. — (See Phonetic Chart, Group (97), 
page 385.) gaw paw law raw 

caw jaw claw straw 



LESSON PLANS AND TYPE LESSONS 63 

Lesson XIV, Page 14 

There are no new words in this lesson. 

Study of Lesson Picture. 

Primer Story. — You know all boys can kick a ball very 
high, and they like to do it. Frank would rather kick a ball 
than bounce it or toss it, but Alice can't kick a ball 
very well. Frank said: "I can kick the ball, Alice. I like 
to kick a ball. I can kick a ball high." 

He took the ball and gave it a kick, saying: "See me kick 
it high. See me run and kick it. Can you kick a ball, 
Alice? Do you like to kick a ball? Run and kick it, 
Alice." 

Alice tried to give it a little kick and Frank laughed as he 
said, "Kick it high, Alice." 

The class read the sentences on page 14. 

Exercise in Phonics. — The word and should now be used 
as a phonogram upon which to build a list of new words; as: 

and hand sand 

band land stand 

Seat Work. — The children will enjoy the seat work for 
this lesson if they are shown how to draw a figure with 
straight lines which will clearly represent a boy kicking a ball. 

Lesson XV, Page 15 

The word not was taught in the preliminary blackboard 
work, but flay and boy are new. These two words may be 
taught in written sentences; as: Frank is a boy. Frank likes 
to play. Max is a boy. Max likes to play. 

Exercise in Phonics. — The word play should now be 
used as a type word for making lists of words for sound- 
ing (see Phonetic Chart, Group (91), page 384) : 



64 THE HALIBURTON TEACHER'S MANUAL 



play 


gay 


pay 


say 


lay 


. hay 


ray 


stay 


day 


may 


pray 


way 


jay 


bay 


gray 


away 



Lesson XVI, Page 16 

Will is a new word, which the children can easily get if 
they are simply told that double I at the end of a word is to 
be sounded as one I. 

Study of Lesson Picture. 

Primer Story. — One day Alice and Frank were playing 
in their mother's greenhouse among the flowers. Frank 
saw Grace coming and said in a low tone to Alice: "Alice, 
I see Grace. Grace did not see me. I will run and hide." 
(The teacher writes this last sentence, calling attention to 
the word will.) "Will you hide, Alice?" (She writes this 
also, calling attention to the word will.) "Run, run and 
hide. Grace will catch you. Hide, Alice, hide. Grace 
will see you." 

The sentences on page 16 are then to be read by the class. 

Exercise in Phonics. — (See Phonetic Chart, Group (47), 
page 380.) kick tick pick lick 

chick stick wick slick 

Lesson XVII, Page 17 

The new words on this page are them, He, he. 

Primer Story. — You have just read about Frank and 
Alice hiding. Now you will read about Grace finding them. 
(The teacher writes the word them.) Frank saw Grace 
coming when he — (she writes he) — and Alice were in the 
greenhouse, and thought of a good place in which to hide. 
He — (the teacher writes He) — thought Grace could not 
find them (she points to the word them). I wonder whether 



LESSON PLANS AND TYPE LESSONS 65 

you children like to play hide! Let us talk to each other 
about this from the book. Then I will tell you where Alice 
and Frank hid from Grace. 

The sentences on page 17 are then to be read by the 
class. 

Exercises in Phonics. — (See Phonetic Chart, Group (19), 
page 376.) ^ m ^ ^ 

hill Jill chill still 



Lesson XVIII, Page 18 

The only new word is Sister. 

Study of Lesson Picture. 

Primer Story. — I told you that Frank thought of a place 
where he and Alice might hide and where he thought Grace 
couldn't find them. It was in the library. He and Alice ran 
into the library and hid under a table. Then Alice called: 
"Sister! Sister Grace!" (The teacher writes this and calls 
attention to the word Sister.) "Find me, Sister. Find 
Frank. Find me." 

Grace, who had seen Alice and Frank as they ran, also saw 
them stop and run behind the table, although she couldn't 
get under it. So she called back to Alice: "Yes, I will find 
you. I saw you and Frank run. I saw you stop. I can 
find you and him." Then she stooped and looked under 
the table; she saw Alice's feet and cried, "I see you now, 
Alice." She caught Frank and cried, "I have you now, 
Frank." 

The class then reads the sentences on page 18. 

Exercise in Phonics. — (See Phonetic Chart, Group (143), 

page 390.) n , 

r ° me we find 

be the kind 

he she mind 



66 THE HALIBURTON TEACHER'S MANUAL 

Lesson XIX, Page 19 

The new words in this lesson are she and us. The children 
can sound both of them. Class reads the sentences on page 19. 

Exercise in Phonics. — (See Phonetic Chart, Group (52), 
page 380 . ) The teacher writes on the board words that contain 
the short sound of i, and, by adding e to these, makes words 
with the long sound of i. Drill on these words should follow. 



dim 


rim 


hid 


slid 


ride 


side 


dime 


rime 


hide 


slide 


bride 


wide 



Lesson XX, Page 20 

The new word is come. 

Study of Lesson Picture. 

Primer Story. — One day Grace found some pieces of 
rope out in the orchard. She picked up one of them and 
began to jump. She soon saw Alice, and called out to her to 
come — (she writes the word come) — to her. 

"Come" — (the teacher writes the word Come) — "and 
jump, Alice," said Grace. "Jump the rope with me. Do 
you like to jump a rope? I can jump high. You can jump 
with me. Come jump, Alice, jump." 

The class then read the sentences on page 20. 

Exercise in Phonics. — (See Phonetic Chart, Group (54), 
page 381.) hop pop 

hope pope 

rope mope 

Lesson XXI, Page 21 

The new words are children and has. The pupils can easily 
sound has. The word children may be taught by the teacher 
saying: "Look again at the picture on page 20. How many 
children" — (she writes children) — "do you see? What 



LESSON PLANS AND TYPE LESSONS 67 

children" — (she points to the word children) — "do you 
seer 

The pupils read page 21. 

Phonic Exercise. — (See Phonetic Chart, Group (40), page 
379.) jump hump lump 

bump thump stump 

This ends the first group of lessons in the Primer. The 
conversations connected with these lessons will naturally 
have been about play and outdoor games. 

The next group of lessons will end with Lesson XXXVII. 
During the lessons of this group the conversation should 
center around the pupils' baby sisters or baby brothers at 
home, around their play with the baby brothers and sisters, 
the care they give them, etc. 

Lesson XXII, Page 22 

The new words are here and baby. 

Study of Lesson Picture. 

Primer Story. — One day Frank found that his baby 
sister was trying to walk (the teacher writes the word baby), 
so he held her and tried to get her to walk to Grace. He 
called out: "Grace, here comes Baby." (Teacher writes 
the sentence, calling attention to the word here). "Walk 
with me, Baby." (Teacher writes the word Baby). "She 
can walk, Grace." 

Grace said: "Yes, Frank, she will walk to me. Come 
here, Baby. Come, Baby, come to me." Perhaps Baby 
was afraid she would fall, but Frank helped her along, say- 
ing: "Walk to Sister Grace. Walk, Baby. Walk to Grace. 
Here she comes to you, Grace." Baby took three steps 
alone and came near falling. She was not frightened, but 
laughed when Grace caught her and said, "Grace has you, 
baby sister." 



68 THE HALIBURTON TEACHER'S MANUAL 

The sentences on page 22 may be read by the class. 
Phonic Exercise. — (See Phonetic Chart, Group (64), page, 
382.) Grace pace 

race lace 

trace place 

Lesson XXIII, Page 23 

The only new word in this lesson is your. The children 
know the word you; from this they may get the word your 
by the addition of r; and from usage they know the pro- 
nunciation. The pupils read the sentences on page 23. 

Phonic Exercise. — (See Phonetic Chart, Group (147), page 
390.) is walk 

his talk 

'tis chalk 

Lesson XXIV, Page 2k 

There are no new words in this lesson. 

Study of Lesson Picture. 

Primer Story. — Grace found Baby when she was trying 
to walk. Grace began to play and dance with Baby, while 
Frank and Alice watched them. 

Grace said: "Now I have you, Baby. Come and dance," 
etc. 

The rest of the sentences on page 24 of the Primer are to 
be woven into the Primer Story by the teacher, as has been 
done in almost every lesson. She must remember only to 
make it clear that they are spoken by Grace. 

The pupils then read the sentences on page 24. 

Exercise in Phonics. — like pike dike 

Lesson XXV, Page 25 

The new words in this lesson are Does and her. 

Primer Story. — We have been reading about Grace and 



LESSON PLANS AND TYPE LESSONS 69 

Frank playing with Baby. What were they trying to teach 
her — (the teacher writes the word her) — to do? Does 
Baby like to dance? (The teacher writes the word Does). 
No, Baby does not like to dance. (Teacher writes does.) 
The pupils read the sentences on page 25. 
Exercise in Phonics. — (See Phonetic Chart, Group (8), 
page 375.) 

not Dot hot pot 

cot got tot spot 

Lesson XXVI, Page 26 

The only new word in the lesson is the word for. The 
teacher develops it by writing the phrases in which it is 
used, as they occur in the Primer Story; as, for her, for you, 
for us, for me, for him, for Grace. 

Study of Lesson Picture. 

Primer Story. — Baby wouldn't try to dance for Grace, 
so Frank asked Grace to sing, and see if Baby would dance 
for her. He said, "Baby will not dance, Grace," etc. 

The rest of the sentences on this page should be woven into 
the Primer Story so as to show that they are spoken by 
Frank. The pupils read the sentences on page 26. 

Exercise in Phonics. — (See Phonetic Chart, Group (36), 
page 378.) s i n g wing thing ring 

king swing fling spring 

Lesson XXVII, Page 27 

The new words in this lesson, hear and too, may best be 
presented in the teacher's talk. "We have read about 
Grace dancing with Baby. Baby likes to hear Grace sing." 
(Teacher writes and repeats the phrase likes to hear, calling 
special attention to the word hear) . " She likes to hear Alice 
sing, too." (She writes the word too.) 



70 THE HALIBURTON TEACHER'S MANUAL 

The pupils read the sentences on page 27. 
Exercise in Phonics. — too coo moo woo 

Lesson XXVIII, Page 28 

Study of Lesson Picture. 

Primer Story. — Frank was about to run out of the room 
when Grace called him to come and whistle, so that she and 
Alice could persuade Baby to dance. 

"Come here, Frank," she said. "Will you whistle for 
us? Baby likes to hear you whistle. Whistle and she will 
dance for us. Alice and I will dance with her. Whistle 
for us to dance, Frank." (Teacher calls attention to the 
fact that Grace said all this and that Frank said the three 
sentences following.) 

Frank came back and sat down. He said, "Yes, I will 
whistle, Grace. Little sister, will you dance for me?" 
(Teacher writes phrase Little sister.) "Now dance, little 
sister." (Writes phrase little sister.) 

The pupils read the sentences on page 28. 

Phonic Exercise. — (See Phonetic Chart, Group (94), page 
384.) hear near tear 

dear fear year 

Lesson XXIX, Page 29 

It is not necessary to tell any part of the Primer Story in 
connection with this lesson. The new words, am and glad, 
should be put on the board before the lesson is read by the 
children, however. The teacher may say, "These new 
words will be found in your lesson to-day. Sound them and 
see if you cannot get them for yourselves." 

The pupils then read the sentences on page 29. 

Oral Exercise in Phonics. — The teacher should drill the 
children in pronouncing the word whistle at bottom of page, 



LESSON PLANS AND TYPE LESSONS 71 

calling upon them to give the sound of the initial letters 
wh and as many words as they can think of that begin with 
that sound. The teacher will find that a great many chil- 
dren give the initial sound incorrectly of such words as 
white, wheat, what. This is particularly true of children of 
German parentage. American children, also, in certain 
localities, say wite for white, weat for wheat, wot for what, 
etc. A helpful device is to tell such children to blow and 
then say the part of the word which follows the wh. For 
example, the child, to pronounce white, blows and says ite; 
to pronounce wheat, blows and says eat; to pronounce when, 
blows and says en; to pronounce while, blows and says He, 
etc. (For Seat Work, see page 418.) 

Phonic Exercise. — The words am and glad should be used 
as type words upon which lists of new words are built. 

am ham glad sad 

dam jam had bad 

Lesson XXX, Page 31 

Study of Lesson Picture. — The study of the picture on 
page 30 is important, since the sense of the text is even more 
closely dependent on the illustration than usual. 

After the children's silent study of the picture, the teacher 
asks: "Can you see what Alice is ready to do?" The chil- 
dren will answer, "She is ready to catch the ball." The 
teacher writes the word catch. "Can you see what Frank 
is ready to do?" "He is ready to pitch the ball." The 
teacher writes the word pitch. "Now I will tell you what I 
can see Grace do. I can see her toss the ball." The teacher 
writes the word toss. "I will tell you what I can see Baby 
do. I can see her jump." She writes the word jump. 

"We can tell what the Primer Children are doing in an- 
other way. Frank is pitching the ball. See how easily I 



72 THE HALIBURTON TEACHER'S MANUAL 

can make the longer word pitching from the short word 
'pitch." The teacher adds ing to pitch, making the word 
pitching. She makes catching from catch, tossing from toss, 
and jumping from jump. Then, in order to make the chil- 
dren do this work, she says: 

"What is this word?" (She writes the word do.) "How 
can I make from it the word doing?" (The children will 
be quick to see and say that it is by adding ing to do.) "What 
is this word?" (Writes the word play.) "How can I make 
from it the word playing? What is this?" (Writes the 
word sing.) "How can I make from it the word singing? 
What is this word?" (Write the word dance.) "To 
make dancing from this word dance, I must leave off the 
last letter, e, before I add ing." (The teacher here calls the 
name of the letter e and the names of the letters in ing.) 
"In the same way I make bouncing from bounce" — (writes 
the word bounce and makes from it the word bouncing) — 
"and hiding from the word hide." (She writes the word hide 
and makes from it the word hiding.) 

"Now, what must we do with the last letter, the letter 
whose name is e, in the words dance, bounce, and hide, when 
we wish to make the ing words?" (The class should tell in 
their own childlike way that we "drop" or "leave off" the 
letter e before adding ing.) 

The children may then open their books to page 31 and 
pronounce the words listed at the top of that page; thus, 
do, doing, play, playing, etc. 

After this the children read the sentences on page 31. 

Lessons from Pages 32, 33, 34, and 35 

Of the words listed as new, the following must be taught 
by means of sentences: white, are, Mother, black, pretty, 
name, and Ducky. All the other new words can and should 



LESSON PLANS AND TYPE LESSONS 73 

be sounded by the pupils. The teacher should ask the chil- 
dren to look at these words and think each sound in them. 
She may show the class how to sound for themselves such 
words as duck. She says, "You know this word," and writes 
on the board the word chick. She sounds the word for them, 
by disclosing and giving one sound at a time until the last 
one, ck; then she tells the class that ck at the end of a word 
must be given as one sound, the sound of k. She then writes 
lists of words for the children to master for themselves in the 
same way by giving one sound at a time. 



ch i ck 


b a ck 


d u ck 


qu i ck 


qu a ck 


b u ck 


t i ck 


J a ck 


1 u ck 


st i ck 


bl a ck 


cl u ck 



Primer Story. — Alice has a white hen. The white hen has 
six little chicks, but the chicks are black. (Writes the words 
are black.) Grace has a black hen whose chicks are white. 
(Writes the words arc white.) The children think it is very 
strange that a black hen should have white chicks, and a 
white hen should have black chicks. I think so, too. Don't 
you? You know the name (writes name) of Grace's black 
hen. I told you about Mother Jet (writes Mother Jet) and 
little Ducky Bet (writes the words Ducky Bet) . 

Baby likes to watch the pretty (writes pretty) little chicks 
put their heads down to the drinking water and then hold 
their bills up high, to swallow it. Alice had told Baby she 
thought that when the chicks did that they were thanking 
God for the good cool water, and Baby loves to watch them 
"give thanks." 

Alice took Baby to the chicken yard one day to see her 
hen and little chicks, and after that Grace carried her to see 
Mother Jet's children, the eight little white chicks and 
naughty little Ducky Bet. 



74 THE HALIBURTON TEACHER'S MANUAL 

We are now going to read the four pages that tell about 
Grace and Alice's pet hens and all the little chicks. 
The pupils then read pages 32, 33, 34, and 35. 
Exercise in Phonics. — (See Phonetic Chart, Group (25), 
page 377.) hen pen then 

den men when 

fen ten wren 

Seat Work for Pages 32-36 inclusive. — In connection 
with this series of lessons, a pretty scene may be drawn on 
the blackboard by the teacher, showing Mother Jet and her 
chicks, and their home (the coop). 

The children can cut out the coop from black paper and, 
if the teacher encourages them to do so, may even try to cut 
out the hen and her chicks. 

Lessons from Pages 36 and 37 

The words Dot, kitty, and look were taught in the prelimi- 
nary blackboard lessons, making the new words only these 
three: but,how,a,n& Mink. The first of these can be sounded 
by the class. The teacher may write the words Dot and but 
on the board and ask the pupils to look at them and "think" 
the sound of each letter, telling her, finally, what each word is. 

Phonic Exercise. — (See Phonetic Chart, Groups (119) and 
(86), pages 387 and 383.) 

how bow look took cook 

now cow book brook shook 

Primer Story. — Do you remember the stories and jingles 
we had some time ago about the two kitties, — Dot, who is 
as white as snow, and lazy, little, black Mink? (Write the 
word Mink.) Well, to-day we are to read in our Primer 
about Dot and Mink. 

One day Grace and Alice were out in the chicken yard, 



LESSON PLANS AND TYPE LESSONS 75 

watching Mother Jet and her chickens. Kitty Dot, who 
was on the porch, saw her dear little mistress Alice and came 
running into the chicken yard, frightening Mother Jet's 
children out of their wits. Grace saw Dot and said: "Now 
here comes Dot. Alice, here is your kitty. She has come 
to see the chicks." Then she pointed to the baby duck, 
saying to Dot, "See Ducky Bet, Dot." 

Alice saw that the chicks were frightened and she said to 
Grace, "The little chicks run to the hen." Then she said 
to the chicks and the duckling, "Do not run, little chicks. 
Dot will not catch you, Ducky." 

Grace said teasingly to the kitty: "The chicks do not like 
you, Dot. The little duck does not like you." 

Alice put out her hands and, as she took Dot in her arms 
to pet and smooth her, she said: "But I like my little kitty, 
Dot. Come to me, you little white kitty." 

Pages 36 and 37 may then be read by the class. 

Phonic Exercise. — (See Phonetic Chart, Group (41), page 
379.) Two of the words just mastered — Mink as a sight 
word and but by analysis into its component sounds — may 
now be used as type words upon which to build word lists. 



but 


Mink 


link 


pink 


cut 


think 


blink 


rink 


nut 


wink 


clink 


drink 


shut 


chink 


sink 


brink 



Seat Work for Page 37. — The children can trace and cut 
from black and white paper the white kitty, Dot, and the 
black kitty, Mink. Young children are particularly fond 
of jointed animals, which can be made by fastening on the 
legs and tail with small brass fasteners, in such a way that 
they can be moved. 



76 THE HALIBURTON TEACHER'S MANUAL 

Lessons from Pages 38 and 39 

The new words in these lessons are make, sweet, cake, 
cousin, must. All of these words except sweet and cousin 
can be sounded by the children, since they learned in Lesson 
XIX the effect of a final e on the vowel preceding the 
consonant. 

Study of Lesson Picture. — This is good for dramatization 
after the story has been told. 

Primer Story for Lessons on Pages 38 and 39. — You remem- 
ber I told you that we would read about Max, the children's 
little cousin (writes the word cousin) who has always lived 
in the city and whom none of them had ever seen till he 
came to stay with them in their country home. 

Max has no father or mother. They both died when he 
was a tiny baby, and Max has lived with his aunt until 
now, when he is coming to live with Frank and his sisters. 

When the children's father told them that he was going to 
the city to get Max, and bring him to live with them, they 
were wild with delight. Father told them that Max was 
of about the same age as Alice and that they would all love 
him as if he were their own brother. Alice and Grace said 
they had always wanted a brother apiece, and Frank said 
he had always wanted one brother, at least. They could 
hardly wait for their father to return from the city with 
Cousin Max (writes the word Cousin). The day before 
Max came, Mother and Grace were in the kitchen, where 
Mother was making a big cake (writes the word cake) for 
Max. Grace was helping her make it (writes make). 

Grace saw Alice out in the yard and called: "Alice, Alice! 
Come here, Alice. Come see me make a sweet cake." 
(Writes the word sweet; later the children should sound this 
word, as well as must, cake, and make.) 

Alice ran in and said, "You cannot make a cake, Grace." 



LESSON PLANS AND TYPE LESSONS 77 

Then, turning to her mother, she asked, "Can Grace make a 
cake, Mother?" 

Mother said, "I will show her how to do it, Alice." 

Then Alice said; "Show me, too, Mother. I can make a 
cake if Grace can. May I make a cake, Mother?" 

"Yes, you and Grace may make it," replied Mother. "I 
will show you how to make it. I am glad to have you make 
the cake." 

The class is then ready to read both page 38 and 39. 

Phonic Exercise. — (See Phonetic Chart, Groups (130) and 
(131), page 388.) 

The teacher uses the words cake and make as type words 
upon which to build lists containing the phonogram ake. 

cake lake name 

make flake came 

wake take dame 

bake shake game 

After this phonic exercise, the teacher may call attention 
to the effect of e at the end of these words, — that is, "it 
makes a tell its name." 

Lessons from Pages 1^0, 1±1, and ^2 

The words listed as new in these lessons are father, let, 
live, this, and home. The words let and this have been taught, 
and should now be sounded by the children, who first think 
the sound of each letter and then pronounce the word. They 
can also sound the word home, if the teacher reminds them 
that the effect of final e on o is to make it tell its name. 

Primer Story. — The next morning Frank and Alice were 
sitting on the window seat watching for Father. (Writes the 
word Father). They soon saw him coming, holding Max by 
the hand. 

"Look, look, Alice," said Frank. "Here comes Max. He 



78 THE HALIBURTON TEACHER'S MANUAL 

is with Father. Let us run and see him. I am glad Max 
has come." 

They ran to meet Max and welcome him to their home. 

Frank caught his hand, saying: "How do you do, Max? 
I am glad to see you. I am glad you have come. I am 
glad you are a boy, for I am glad to have a boy here. I am 
glad you are to live" — (writes the word live) — "here." 

Now, Mother was in the library and did not see Father 
and Max when they arrived. So Frank took Max by the 
hand and led him toward the library, saying: "Come with 
me, Max. Come and see Mother." When they saw Mother, 
Frank said, "Max, this is Mother," and, drawing his cousin 
nearer, he said: "Mother, here is Max. He has come to live 
with us. Are you not glad, Mother?" 

Mother smiled her kind sweet smile and, putting out her 
hands to Max, she said: "Yes, I am glad, Frank. Come to 
me, Max. How do you do, my boy? I am glad to see you, 
Max. I am glad you are to live with us." 

The picture on page 42 is a very good one for dramatiza- 
tion in connection with the Primer Story. 



Lessons from Pages 43 and 44, 45 and 46 

The new words in these lessons are give, big, top, ran, that, 
and say. The words drum, doll, and march were taught in 
Preliminary Lessons in Reading. The words big and that 
were learned in Phonic Jingles. The words top, ran, and 
say have been learned in previous exercises in phonics. If 
necessary to do so, the class can give the separate sounds in 
each. The pupils can easily sound the word say, having had 
it in the drill on the phonogram ay. The word give should 
be taught in a sentence. 

The pictures on pages 43 and 45 are very good ones for 
dramatization in connection with the Primer Story. 



LESSON PLANS AND TYPE LESSONS 79 

Primer Story. — While Mother was showing Max where 
his clothes and books were to be kept in his room, Frank 
carried downstairs to his sisters the toys that Max had 
brought them from the city. He had brought a pretty doll 
for Alice which had on short dresses like a little girl's. There 
was another doll, just like Alice's, only smaller, for Baby. 
He had brought Grace a big doll almost as big as a "sure 
enough" baby, and it wore a long dress like a real baby. 
He had brought Frank a beautiful red drum. 

Baby stuck a finger in her mouth and stared at the dolls, 
speechless with delight. Grace held her baby doll in her 
lap, so happy she could scarcely speak, but Alice, holding 
her doll, chattered away to Frank. 

Frank said, "See my drum, Alice." 

Alice asked, "Did Max give" — (writes the word give) 
— "the drum to you?" 

"Yes, and here is a doll for Baby," answered Frank, as he 
held up Baby's doll. "This doll is for you, Baby. See 
your pretty little doll." 

"My doll is a pretty doll, Frank," said Alice. "See! 
Grace's doll is a baby doll. Did Max give us the dolls, 
Frank?" Frank said, "Yes, he did, Alice." 

And then they all ran to find Max and thank him for the 
pretty toys he had brought them. Grace and Alice took 
Baby to Mother, who wanted to see the dolls, and Frank 
asked Max to play soldier with him. 

He said, "Come and play with my drum, Max. Do you 
like to march?" Max said, "Yes, Frank, I like to march." 

They made some tall paper caps and put them on, and then 
Frank whistled and beat his drum while he and Max marched 
up and down the yard. 

After a while Frank called to his sisters, "Alice! Grace! 
Come and play." And when he saw Mother on the porch 
he cried: "Look, Mother, look! See us march." 



80 THE HALIBURTON TEACHER'S MANUAL 

Alice heard Frank beating his drum, and she said to 
Grace: "Hear Frank whistle and tap his drum. Rub-a- 
dub! Rub-a-dub!" (Writes the phrase Rub-a-dub-dub.) 
"Let us go and play soldier with him and Max." 

Alice and Grace came out to march with the boys. Soon 
Frank, who had been beating the drum, said: "Now Max 
may tap the drum. Rub-a-dub-dub! Tap the drum, Max." 

Alice thought she would make a good drummer, so she 
said: "I will tap the drum. Rub-a-dub-dub! Rub-a-dub- 
dub! Can you tap it like that?" 

Frank didn't think that Alice knew how to tap, or beat, a 
drum, so he took the drum again and said: "Hear me tap 
it, Alice. Hear it say Rub-a-dub-dub! Rub-a-dub-dub! 
You must tap it like that, Alice. Now let us march. Now 
we must run. Quick, quick!" 

Then the children ran, or marched fast, in the way they 
thought soldiers do when they march in double-quick time. 

Then the class reads pages 43, 44, 45, and 46. 

Phonic Exercise. — (See Phonetic Chart, Groups (31), (16), 
(3), (1), pages 378, 376, and 375.) The teacher should use 
the words drum, big, tap, ran, and that as type words on 
which to build up lists of words for drill. 

drum big tap that ran 



rum 


dig 


cap 


bat 


gum 


gig 


gap 


cat 


hum 


jig 


lap 


fat 


sum 


pig 


rap 


hat 


plum 


rig 


sap 


mat 



chum wig chap rat 

Seat Work for Page 1$. — The teacher may have the chil- 
dren draw Frank's drum, using the simplest lines. Little 
girls love dearly to cut out paper dolls and to make different 
colored dresses for them. The teacher who is wise will 



LESSON PLANS AND TYPE LESSONS 81 

seize the opportunity which is offered here in the reading for 
a welcome kind of seat work. Her ingenuity will suggest 
ways of cutting out paper dolls. 

The teacher may easily connect the seat work for page 
45 directly with the lesson by saying, "Let's get ready to 
march by making the soldier's cap like those shown in your 
picture." Directions for making: One piece of paper 
twelve by eighteen inches. It may be newspaper or wrap- 
ping paper. Hold the paper with the shorter edges at right 
and left. Fold the right and left edges together. Hold 
paper with creased edge at top. Fold right and left edges 
together. Unfold, to find the crease thus formed. Fold 
right half of upper edge to this crease; left half. Fold front 
oblong at bottom upward along front edge of triangle; back 
oblong upward along back edge of triangle. Fold corners 
down one over the other. 

The children may cut out a line of soldier boys wearing 
their caps as they march along. 

Lessons on Pages 1ft and 1^8 

The words listed as new are Lad, dog, at, go, rats, stick, 
and over, all except the last three of which can be sounded 
by the class, unless it be the little word go. Go, no, so, and 
lo may be shown together and the child told that, at the 
end of most little words like these, the vowels "tell their 
names." 

Primer Story for Lessons on Pages Iff, J/-8, and It.9. — When 
the children were tired of marching, Grace and Alice ran 
back into the house to play with Baby, while Frank took 
Max with him to find his little dog, Lad. Lad had been 
lost a long time and had only just found his way home. 

Lad was a rat-terrier and delighted in catching rats and 
mice. He could jump very high and Frank liked to hold a 



82 THE HALIBURTON TEACHER'S MANUAL 

stick high above the ground and make him jump over it. 
(Teacher writes the word over.) He was very proud of Lad 
and wanted to show him to Max; but Lad was nowhere in 
sight, so he began to call him. 

"Here, Lad, here, here, here!" called Frank. 

Max asked, "Is Lad your dog's name, Frank?" 

Frank said, "Yes, that is his name, Max." 

Frank kept calling, but still Lad didn't come. While 
Max waited for Lad to come, he asked questions about him. 
"Is Lad a big dog, Frank?" asked Max. 

Frank said: " No, he is not a big dog. I do wish he would 
come. I will whistle." 

Just at that moment Lad came running up. Frank called 
to Max: "Here he comes, Max. Look at him. See how 
little he is." 

Max wanted Lad to come over to him, so he stooped 
down and held out his hand, saying: "Come here, Lad. 
Come to me." Lie kept trying to coax the dog to come to 
him, and was a little vexed because Lad would not move. 
So he said to Frank: "Look at him. He will not come." 

Lad sat as still as a stone, with his tongue hanging out, 
and he wouldn't go to Max, until Frank said to him, "Get 
up and go to Max, little dog." 

Max asked, "Will your dog catch the chicks, Frank?" 

Frank said, "No, Max, he will not catch them. But he 
will play with the chicks," etc. |^The rest of the sentences 
on page 48 are to be woven into the Primer Story so as to 
show that they are spoken by Frank. J 

Frank wanted Max to see Lad jump over a stick. (Writes 
the phrase over a stick.) So, while he was trying to make Lad 
jump as high as he could without a stick, he said to Max, 
"Can you find a stick, Max?" 

Max saw a stick and answered : " Yes, I see a stick. Here it 
is." Frank held out his hand, saying, " Give it to me, Max." 



LESSON PLANS AND TYPE LESSONS 83 

"Can Lad jump over that stick?" asked Max, as he saw 
how high Frank held it. 

"Yes," said Frank, "he can jump over this stick." (The 
rest of the sentences are spoken by Frank.) 

The class reads pages 47, 48, and 49. 

Oral Phonic Exercise. — The pupils should pronounce the 
word you at bottom of page 48 and drill on the sound of the 
initial letter. The sound of y as an initial is often given incor- 
rectly, even by teachers who have taught phonics for years. 
The correct sound is the same as the sound of double- ee pro- 
longed. To tell a teacher this does not always help her to 
get the correct sound of the initial y, but to practice giving 
the following words as two sounds (as indicated) will help 
her: y-et, y-es, y-am, y-ou, y-elp. The children should be 
given these words for drill, for they will hardly be able 
themselves to think of words that begin with the sound of y. 

The teacher may use the word dog as a type word and build 
up a list of words for drill on the phonogram og. (See 
Phonetic Chart, Group (11), page 376.) 



dog 


fog 


log 


yet 


yam 


bog 


hog 


frog 


yes 


you 



Lessons on Pages 50 and 51 

The words listed as new in this lesson are spot, on, bat, 
and then. They should all be shown on the blackboard and 
the children required to give the separate sounds in each 
word. This they can do easily by this time. 

Primer Story. — One morning Alice and Max were out in 
the yard playing. Alice had just washed Dot and put a new 
red ribbon on her neck. She held the snow-white kitty in 
her arms as she talked to Max. Kitty Mink came walking 
slowly long, and as Max stooped down to rub her black fur, 
he asked, "Is this black kitty yours, Alice?" 



84 THE HALIBURTON TEACHER'S MANUAL 

Alice said: "No, that is Baby's Kitty Mink. See how 
white my kitty Dot is. She has not a spot on her." 

Max looked at the tiny white kitty and asked, "Can Dot 
catch rats, Alice?" 

Alice answered: "No, she is too little to catch rats. But 
she came very near catching a bat once. I will tell you about 
it. I think it is a good joke on Dot. The idea of being a 
cat and not knowing a bat from a rat!" 

Then Alice told the story about the kitty-cat and the bat. 
You remember that I told it to you and you learned to sing 
the jingle about it. Who can tell the story? Who can sing 
the jingle? 

Thus the teacher recalls the phonic jingle and its basic 
story given in Preliminary Lessons in Phonics. (See page 357.) 

The class will read page 50 with ease. If the teacher 
wishes to do so, she may have them read the jingle on page 
51, also, although the jingle is not required work in reading. 

Lessons on Pages 52, 53, and 51^ 

The words listed as new are rabbit, apples, an, away, Bun, 
keep, sleep, pen, bed, in. These words should all be put on 
the board except the first two, rabbit and apples. The 
children should be required to give the separate sounds and 
master each word for themselves. The word away has been 
given in a previous drill on the phonogram ay. The teacher 
should show again the word containing the phonogram; 
thus, away, and should give the sound of ay. This is all the 
assistance the pupil should need to master the word for him- 
self. The phonogram ee has been taught, and so it is an easy 
matter for the teacher to lead the child to master other words 
containing that phonogram. For example, she pronounces 
the word keep, then writes it, then points out and sounds the 
phonogram ee. Then she gives the three sounds in the word; 



LESSON PLANS AND TYPE LESSONS 85 

thus, k ee p. Then the children sound and pronounce keep, 
and follow it by sleep. The word rabbit should be taught in 
a sentence. Later the two syllables may be shown; thus, 
rab bit. These syllables may be sounded separately, but 
not until after the word has been learned as a whole. The 
word apples, which was taught long ago, should, of course, 
be perfectly familiar. 

Primer Story for Pages 52, 53, and 54 . — Frank and Max 
were gathering apples for Mother and talking about pets. 
Max said he liked pet dogs and pet cats. 

Then Frank said: "I like rabbits, Max. I have a white 
rabbit." (Teacher writes the word rabbit.) "His name is 
Bun. Come and see my rabbit, Max." 

They ran into the back yard where Bun stayed. Frank 
caught Bun and said: "See how white he is. Bun has not 
a spot on him." 

Max said, "Do rabbits like apples, Frank?" 

"Yes," replied Frank, picking up an apple, "I will give 
Bun an apple." But Bun had leaped away, and Frank had 
to call after him: "Bun, Bun, Bun! Here is an apple. 
Apples, apples. See the apples, Bun." 

Max liked to see Bun hop and jump, so he said: "Jump, 
Bun. Jump for the apple. He will not jump for the apple. 
Can you catch him, Frank?" 

Frank said, "Yes, you can catch him, too, Max." 

Max got an apple and said: "I will give him an apple, 
Frank. Then I will catch him." When Bun came nearer 
to get the apple, Max caught him quickly, saying: "Now I 
have him, Frank. How white he is!" 

Frank said: "My rabbit runs away, Max. I cannot 
keep him at home. I will make a pen for him. Then we 
can keep him here." 

Max had never learned how to handle a saw and hammer, 
and, in fact, thought a boy couldn't use those tools. But 



86 THE HALIBURTON TEACHER'S MANUAL 

Frank's father had taught him how to use a hammer and 
saw. "Can you make a pen, Frank?" asked Max. 

Frank said, "Yes, I can make a pen for Bun." 

While Frank was making the pen for Bun, with Max help- 
ing him, Alice ran out, with Dot in her arms. 

She looked at the pen and asked, "What is that, Frank?" 

Frank said: "This is a pen for Bun. You see he runs 
away. Now I can keep him in this pen." 

"Yes, you can, Frank," said Alice. Then she added: 
"Make a little bed for Dot, Frank. You and Max can make 
it." Frank said, "Yes, I will make the bed, Alice." 

Max had never heard of a cat having a bed to sleep in, so 
he asked, "Will Dot sleep in a bed, Alice?" 

Alice replied: "Yes, she will sleep in a doll bed. I will 
make her sleep in it." 

Pages 52, 53, and 54 may then be read by the class. 

Phonic Exercise. — (See Phonetic Chart, Group (23), page 
377.) bed Ned led 

fed red sled 

shed wed fled 

Seat Work. — Draw or cut out the rabbit; cut out of black 
paper a pen for Bun. 

Lessons from Pages 55, 56, and 57 

The new words in this lesson are ivhere, oh, into, they, and 
we. The words in and to being well known, into needs no 
drill. The word we should be listed on the board with the 
little words be, he, me, and she, and the fact should be demon- 
strated that the vowel e "tells its name at the end of little 
words like these," just as o told its name in the words so, no. 
The words where, oh, and they should be taught in sentences. 

Primer Story. — Frank and Max made a pretty bed for 
Alice's cat. They got Father to help them make it. When 



LESSON PLANS AND TYPE LESSONS 87 

it was finished Alice was very proud of it, — and so was 
Grace. Mother had made Alice a little mattress for the 
bed, and Alice, with Grace's help, made the sheets, the 
spread, and the pillows and the pillow covers. They tied 
blue ribbon on the bed, and then they began to look for Dot 
to show her the bed. Alice went about calling and calling 
for Dot and, while she was gone, Grace found Dot in Mother's 
room, playing with Baby. She took them in to see the 
new bed and then Grace saw that Dot had a dirty black 
spot on her snowy white fur. Now Grace knew that Alice 
would punish Dot for this, so she took Dot in her arms 
and said: 

"Oh, kitty, kitty, what a black spot!" (Teacher writes 
the phrase Oh, kitty, kitty.) "Where did you get this spot, 
kitty?" (Writes the word where.) "How did you get it on 
you?" etc. 

Grace scolded Dot and then tried to put her to bed, but 
Dot ran away. When Grace told Alice that Dot had got 
herself dirty and then had run away, Alice said: "I must 
find her. I shall put her to bed to punish her." Alice was 
Dot's own little mistress and she could make Dot mind better 
than Grace could. 

You children know what Alice did to punish Dot; for I 
told you the story and you learned the jingle about it. Who 
can tell the story? Who can sing the jingle about Dot? 

The whole class should read pages 55 and 56. Many of 
the pupils will be able to read the jingle on page 51, also. 

Phonic Exercise. — (See Phonetic Chart, Group (72), page 

catch match patch 

hatch latch scratch 

Seat Work. — The children may draw or cut out Dot's 
little bed, — almost all of straight lines. They can also 
outline the bed on top of their desks with pegs. 



88 THE HALIBURTON TEACHER'S MANUAL 

Lessons from Pages 58 and 59 

The words listed as new are, town, barn, horses, and says. 
The pupils already know the word say, from which they get 
the word says by simply adding s. Usage teaches the correct 
pronunciation. The other new words should be taught in 
sentences. 

Primer Story. — One day Father was going to drive to 
town. (Writes the word town.) He told Frank to run and 
ask Mother whether he and Max might go, too. If Mother 
said that they might go, they were then to run down to the 
barn (writes the word barn) and catch the horses (writes the 
word horses) for him. Frank and Max ran in where Mother 
was reading. 

"Mother, may we go with Father?" asked Frank. (The 
rest of the sentences on page 58 constitute the ensuing con- 
versation between Frank and Mother.) 

Frank told Alice and Grace to get ready to go into town 
with Father, and then he ran down toward the barn. 

Max said, "Where are you going, Frank?" 

Frank said, "I am going to the barn, Max," etc. (The re- 
mainder of the sentences on page 59 make the conversation 
between Frank and Max.) 

Phonic Exercise. — (See Phonetic Chart, Group (120), 
page 387.) The class know the phonogram ow, as in now 
and how. They will find it easy enough to sound a list of 
words built upon town as the type word; as: town, down, 
gown, crown. 

This forward step in the advancement of the class will be 
made both longer and surer if the pupils are now carried 
farther toward word analysis and shown that these words 
contain the digraph ow, — the same phonogram that is 
found in now, how, cow; that is, that ow can be sounded 
separately in the word town as well as in now; thus, / ow n. 



LESSON PLANS AND TYPE LESSONS 89 

Lessons from Pages 60 and 61 

The new words are pull, drive, through, oxen, woods, were, 
and red. The last word can easily be sounded by the chil- 
dren, thus leaving only six words, pull, drive, through, oxen, 
woods, and were, to be taught in sentences. 

Primer Story. — At one place on the way to town, Frank 
got out of the wagon to let down the bars in a fence so 
Father could drive through. (Teacher writes the phrase 
drive through.) He saw a farmer's boy driving a pair of big 
red oxen which were pulling — (writes phrase were pulling) 

— a wagonload of straw. Frank told the boy to drive 
ahead, as he would put up the bars for him. 

Then Frank called to Max to come and look at the oxen, 

— for he knew Max had never seen oxen in the city. He 
said, "Max, come and look at the red oxen." 

Max said: "Oh, how big the red oxen are! See how they 
can pull." (Writes the word pull.) "Oxen can pull like 
horses. Can the oxen run, Frank?" 

Frank said, "Yes, Max, oxen can run." etc. (The rest of 
the sentences on page 60 are spoken by Frank.) 

Lessons from Pages 62 and 63 

The new words are birds, head, there, tell, trees, as, sap, hole. 
The first three words should be taught in sentences. The 
last five should be written on the board for the class to learn 
independently, which they can do by giving the separate 
sounds in the words. 

Primer Story. — The children enjoyed the ride to town 
with Father. The road ran most of the way through the 
woods. (Teacher writes the phrase through the woods.) 
Frank can drive very well, and his father often lets him drive 
for him. Father let Max drive a little way, too. There 



90 THE HALIBURTON TEACHER'S MANUAL 

were a great many birds in the woods. (Writes the phrase 
birds in the ivoods.) Father told Max to listen to the songs 
of the birds, and to look closely at the birds themselves. 
Father said he wished Max to notice how the birds looked 
and be able to tell what they were doing. (Writes the phrase 
were doing.) He said Max must learn to know the different 
kinds of birds. As they were driving along, Father heard a 
sharp little sound of tapping on one of the trees. He asked 
Frank if he heard it, and whether he knew that a bird was 
doing that tapping. 

You have heard about the bird that makes the little 
tapping noise. I told you the story about the bird that had 
the pretty red head — (writes the word head) — and you 
learned the song about him. Who can tell the story? Who 
can say the jingle? 

The class should then read pages 62 and 63. 

Phonic Exercise. — (See Phonetic Chart, Group (96), page 
385.) head lead bread 

dead read thread 

Seat Work. — Cut out a picture of Red-Cap as he went 
"tip-tap" on the old apple tree. 

Many will be able to read the jingle on page 64. 

Lessons on Pages 65, 66, and 67 

The words listed as new are school, another, chickadee, 
tomtit, write, quit, came, which, hop, nests, way. Of these 
write is a key word, the last six can be sounded by the 
children, and only the first four must be taught in 
sentences. 

The six words that the children can sound should be writ- 
ten on the board and the children asked to give the separate 
sounds in each of the words, or to find the phonograms that 
they know in each and sound those phonograms. 



LESSON PLANS AND TYPE LESSONS 91 

Primer Story. — One day Grace, Alice, and Frank started 
to school (teacher writes the word school), which is held in 
the summer time in the country. Mother said Max was 
to go with them. Max had been to school in the city but 
had never gone to a country school. There were two roads 
to the schoolhouse from the children's home. One way was 
through the pretty woods, where birds were singing and build- 
ing their nests. (Writes the word nests.) Frank was de- 
lighted when he found that they were to have Max go to 
school with them. He knew Max would love to walk through 
the woods. So he ran to Max and said: "We are going to 
school, Max. I am glad you are going with us. I like to 
go to school. I like to write in school. Do you?" 

Max said: "Yes, I like to write, Frank. Is your school 
in town? " Frank said, "No, we do not go to school in town." 
(The rest of the sentences on page 65 are spoken by Frank.) 

When school was out the children played near the school 
door for a little while. Then, when it was time to go home, 
Frank called out, "Come, Alice. Come, Grace. We are 
going home now, Max." 

As they started off, Max asked: "Which way are you 
going, Frank? We did not come this way." 

Frank said, "No, we came another way, Max." (Writes 
the word another.) "That way was through the woods. 
Did you like the school, Max?" 

"Yes, Frank," said Max. "I like your school. I do 
not like to go to school in town. I like to go to this school." 

As the children were nearing home, they saw a little bird. 

The top of its head was black. The children watched it 
as it hopped from the tree to the fence. You children know 
what bird it was. I told you the story and you learned the 
jingle about Tomtit. Who will tell me the story? Who 
will say or sing the jingle for me? 

The class reads pages 65, 66, and 67. 



92 THE HALIBURTON TEACHER'S MANUAL 

Phonic Exercise. — (See Phonetic Chart, Group (49), page 
380.) n est jest pest west 

best lest quest chest 

Seat Work. — The pupils make pictures of the schoolhouse 
that Grace, Alice, Frank, and Max attended, to show how 
they think it looked. 

Lessons on Pages 69, 70, and 71 

The new words in these lessons, as listed in the Primer, are: 
greedy, curly, funny, Piggie Wig, Piggie Wee, tail, goes, rimes, 
about, cows, pigs, and bee. The last three words are known 
to the children through previous blackboard exercises. The 
teacher should show how easy it is to make the words cows 
and pigs from cow and pig by simply adding s, also how to 
make the word goes from go. The first nine words should be 
taught in sentences. Piggie Wig is treated as one word, 
and so is Piggie Wee. 

Primer Story. — One day the children saw Father at the 
barn. Frank wanted Max to go to the barn to see the 
horses, the cows, and the pigs. 

He said, "I see Father at the barn." (Remainder of 
sentences on page 69 are spoken by Frank.) 

When the children got to the barn, they ran to the pen in 
which Frank and Alice kept their little pigs. Max saw the 
pig with the funny curly tail — (writes the phrase funny 
curly tail) — and the other pig that was so greedy — (writes 
the word greedy) — the one that goes about — (writes the 
phrase goes about) — saying, "Wee, wee." 

The children told Max about the pigs and the funny 
rimes — (writes the words funny rimes) — that Father made 
about them. You children know all about the pigs and you 
have learned the rimes. Who will tell me about the pigs and 
sing the jingles? 



LESSON PLANS AND TYPE: LESSONS 93 



The class reads pages 69, 70, and 71. 

The pupils will probably ask to be allowed to read the 
jingle on page 72, and many no doubt will read it well, 
although it is not included in the required Primer work. 

Phonic Exercise. — (See Phonetic Chart, Group (89), page 
384.) tail jail pail sail 

fail mail quail bail 

hail nail rail wail 

Seat Work. — Cut out Piggie Wig, with a curly tail, and 
Piggie Wee, with a curved tail. 

Lessons from Pages 73-78, and 80 

Of words listed as new, pond, under, after, of, water, lambs, 
don't, other, caught, and brook, should be taught in sentences, 
although the pupils should first sound pond and brook. 
Blackboard exercises have already included the words day, 
lay, all, back, quack, cluck, peep, and sheep, while violets was 
taught long ago as a key word. Such imitative words as 
shoo and bow-wow may be easily mastered by the pupils, 
who have had drills on the words too, coo, and now, 
how. 

These lessons show especially clearly how much those pre- 
vious blackboard drills may lighten the pupil's burden of 
learning new words in the reading lessons, and how much 
more rapidly he can progress in consequence. 

Primer Story. — One of the prettiest places near the chil- 
dren's home is the wood, where there is a pond. It is such 
a lovely pond, of clear blue water! (Writes the word water.) 
It lies far back in the deep shade of the green trees. There is 
a brook running into the pond (writes the word brook); 
beautiful purple violets bloom there. (Writes the word 
bloom.) Mother loves violets more than any other flowers, 
and the children like to gather them for her. 



94 THE HALIBURTON TEACHER'S MANUAL 

Frank wanted to take Max to see the pond and go after — 
(writes the word after) — violets for Mother. 

He said, "Let us go to the pond, Max." 

"Where is the pond, Frank?" asked Max. 

"It is over in the woods," answered Frank. (Remainder 
of sentences on page 73 are spoken by Frank.) 

The brook that runs into the pond is a beautiful stream, 
that sparkles and shines in the sunshine and murmurs softly 
as it runs along toward the pond under the big shady trees. 
The children say it seems to be talking to the violets that 
bloom near its banks. The sheep and lambs — (writes the 
words sheep and lambs) — and the cows love to come down 
to the shady pond and brook when the summer sunshine 
makes the meadow too hot and bright for them to stay 
there. But the ducks like the brook even more than the 
sheep and cows do. Some of the ducks roost at the barn 
and come down to the pond only for a little while during the 
day. But there are other ducks that stay in the woods all 
the time. They swim and dive and catch their food in the 
pond; they hide their nests, where they lay their eggs, in the 
deep grass and rushes that grow around the pond. The 
children like to hunt for the hidden nests of the ducks and 
they sometimes find enough eggs to fill a hat. They like 
to find the eggs for Mother. 

It was a beautiful day when Max first went to the pond. 
He, Alice, and Grace stopped by the pond to rest while 
Frank and Lad roamed farther off in the woods. After 
a while Alice left the pond, too, and ran on, going away up 
the brook where there were great beds of violets. Max 
stayed with Grace by the pond. 

He said, "What a pretty day it is, Grace! And what a 
pretty pond this is! Look at the ducks in the water. See 
that big duck with the curly tail." (The pupils should have 
before them the picture on page 74.) 



LESSON PLANS AND TYPE LESSONS 95 

Grace said, "Yes, the ducks are here all day in the water. 
They make nests here at the pond." 

"Do all the ducks lay here, Grace?" asked Max. 

Grace said, "No, I have some ducks at the barn. They 
lay at the barn. That is where they live." 

Then Grace began to talk to Max about the brook. She 
said, "A big brook runs into the pond." (All sentences of 
the first group on page 75 are spoken by Grace.) Grace saw 
Alice walking under the big trees away up the brook gathering 
violets. She heard Alice calling them to come and see the 
great bed of violets. 

"Can you hear what Alice says to us?" asked Grace. 
"She says, 'Violets! Violets! Come see the violets!'" 

Max still stayed by the pond to watch the ducks. Alice 
soon came back, and sat down by Max while Grace ran into 
the woods, declaring that she heard Mother Jet clucking 
somewhere near. Soon Alice and Frank heard her calling 
them to come where she was in the woods. She wanted 
them to see Mother Jet and her children following the ducks 
who had come from the barn to visit the ducks that lived 
at the pond. Mother Jet soon came with her children to 
the brook where Max and Alice were sitting. (The pupils 
should have their books open to look at the pictures on 
pages 76 and 79 while the teacher tells the rest of the story.) 

Ducky Bet behaved herself very well until she got near 
the water; then she gave all the trouble of which you will 
read on page 80. But first, some of you must tell me the 
story and recite the jingle which I taught you about naughty 
Ducky Bet. Then we will read from our books. 

The pupils will tell the basic story and repeat the jingle 
about Ducky Bet, appearing on page 78. No doubt some 
of them will wish to read the jingle also. 

The teacher may make a blackboard sketch of the picture 
on page 74. By using crayons to give the delicate coloring 



96 THE HALIBURTON TEACHER'S MANUAL 

of the pond with the ducks floating on top of the water, of 
the tall green rushes and the brown cat tails forming the 
background, she may make a picture well worth the effort. 
Phonic Exercise. — (See Phonetic Chart, Group (82), page 

383 ') bloom doom 

loom room 

boom broom 

Lessons from Pages 81 , 82, and 83 

Of the new words, some and watch should be taught in 
sentences. The words frog, went, and made should be 
sounded by the children before reading the lesson. Eggs 
was taught as a key word. 

Primer Story. — One warm, foggy morning the children 
took Lad and went down in the woods where the brook runs 
through a bog. A bog is a wet, swampy place. When there 
is a good deal of water in the bog, the frogs like to stay there 
and often lay eggs there. Now, Max had seen bird eggs 
and bird nests and was learning a great deal about birds 
and where to find them. But he knew nothing about frogs 
or frog eggs or where to look for them. When he saw Frank 
looking down into the muddy water and stirring it with a 
stick, he said, "What are you looking for, Frank?" 

Frank said, "I am looking for frog eggs, Max. The frogs 
lay eggs in the water." 

Max said, "Oh, do find some" — (writes the word some) 
— "of the frog eggs. Find some and let me see them. Do 
frogs lay eggs in nests, Frank?" 

This made Frank laugh aloud and he said, "Oh, Max, 
frogs don't make nests. Don't you know that? How 
funny! I will show you some frog's eggs. I can find them 
in the pond." 

Frank looked until he found the lump of jelly-like matter, 



LESSON PLANS AND TYPE LESSONS 97 

which he showed to Max, saying, "Here are some of them 
now. Come and look at the eggs, Max." 

Max had expected to see something like bird eggs. " Eggs? 
Well! They are funny eggs," said he. "They are not at 
all like bird's eggs." 

Then Frank took Max on what he called a "frog hunt." 
You know they had Lad with them, and I told you some time 
ago how this little dog caused one of the frog hunters to get 
into trouble. (The teacher recalls jingle on page 83 and its 
basic story.) Who will tell me the story I told you? Who 
will sing or repeat the jingle about the little frog? 

The children read pages 81 and 82. They will also be 
able to read the jingle on page 83. 

Phonic Exercise. — (See Phonetic Chart, Group (50), pages 
380 and 381.) 

went sent made shade 

bent tent fade wade 

Lessons from Pages &4» 85, 86, and 87 

Of the new words, again, out, please, ground, was, and one 
should be taught in sentences. The word time can be sounded 
by the children, and thank has been taught incidentally. 

Primer Story. — Grace and Alice were hunting duck eggs 
while Frank and Max hunted frogs. When the girls came 
back, they found Max sitting in the sun drying his shoes 
and stockings, which had become soaked with muddy water 
when he took that plunge after the frog. There! I have 
told you who it was that fell "kerchog!" into the bog, 
according to the jingle story. I hadn't meant to tell on 
Max, but now the secret is out. 

Grace and Alice helped scrape the mud off Max's shoes 
and spread his stockings on a log in the sun. By the time 
these were dry, it was getting late. So Grace said, "It is 
time to go home, Max." 



98 THE HALIBURTON TEACHER'S MANUAL 

But Max was feeling very much vexed on account of his 
muddy clothes, and feared he would be teased at the house 
if he went there before it was dark. So he said, "Oh, no; 
please" — (writes please) ■ — "don't go home, Grace." 

Grace said, "Yes, we must go, Max. Let us go through 
the woods. We will go to the barn and play." She thought 
Max, who loved the big old barn, would like this, and, as it 
was near the house, she knew her mother would not be un- 
easy even if they played there until dark. 

So Max said, "Yes, Grace, please go to the barn." 

As the children were going home through the woods, 
Frank saw a little gray rabbit and called to Max, "Look at 
that rabbit!" Max did not see it at first and cried out, 
"Where, Frank, where? Please show me." 

Frank pointed to the place where the rabbit was sitting 
still for the moment and said, "Look in the woods!" 

Then Max saw the rabbit and cried, "Oh, I see him now! 
Look at him hop! See his little white tail! There he goes! 
See him jump!" Then Max turned to Frank and said, 
"That rabbit is not like Bun, Frank." 

Frank said, "No, that rabbit is Bun's cousin. Bun's 
cousins live here in the woods. They have homes in the 
woods." 

"What is a rabbit's home like, Frank?" asked Max. 

Frank said, " It is a hole under the ground, Max." (Writes 
the word ground.) "The rabbits make the hole in the 
gound." Then Frank began to tell Max about rabbits' 
homes, and the one — (writes the word one) — which he had 
seen. He said, "One time I saw a rabbit's home," etc. 
(The next seven sentences are spoken by Frank.) 

Max wished very' much to see a rabbit's home. So he 
said, "Please show me a rabbit's home, Frank." 

Frank said, "Yes, some day I will be glad to, Max." 

Max said, "Thank you, Frank, thank you." Then, as he 



LESSON PLANS AND TYPE LESSONS 99 

saw the rabbit jumping again in the woods, he said, "I like 
to see a rabbit jump. Don't you?" 

Frank said, ''Yes, I know a rime about a rabbit. It is a 
rime that I can sing." 

Max said, "Please sing it for me, Frank." 

Then Frank sang the song about "Wild Little Bun," 
which you have learned to sing and may try to read to-day. 

The class read pages 84, 85, and 86. They will be able to 
read the jingle on page 87, also. 

Phonic Exercise. — (See Phonetic Chart, Groups (115) and 
(117), page 386.) 

ground found out shout snout 

bound sound gout sprout about 

Seat Work. — Have the children cut out "Wild little Bun" 
in the act of jumping over the stump. The results of this 
kind of work — which looks so difficult and would be well- 
nigh impossible, were it not for the excellent illustrations 
which serve as models — will be both surprising and gratify- 
ing to the teacher. 

Lessons from Pages 88-92 

Of the new words in these lessons, fly, mouse, and flew 
should be developed in sentences. The words, bat, cat, hat, 
hay, bake, and ivhen have been sounded and drilled upon in 
previous phonic exercises. These words should be now 
sounded again by the class, and also the words oivl and down. 

Primer Story. — It was late in the afternoon when the 
children reached the barn. Max had been trying to do as 
Father suggested; that is, learn to know as many different 
birds as possible. When he saw a bat flying overhead, he 
thought it was a bird he had never seen before. So he 
called to Frank, "Look, Frank! What bird is that?" 

Frank said, "That is a bat, Max." 



100 THE HALIBURTON TEACHER'S MANUAL 

Max thought only birds could fly. (Writes the word fly.) 
So he said, "It can fly, Frank." 

Frank said, "Yes, a bat can fly. It can fly like a bird. A 
bat can fly as high as a bird, too. There it goes. Up, up, 
it goes." Max asked, "Can you catch the bat, Frank?" 

"Yes, I will catch it with my hat," replied Frank. So he 
ran and tried to catch the bat under his hat. He kept 
saying as he ran, "Bat, bat, come under my hat, And when 
I bake, I will give you a cake." 

At last he caught it under his hat, and showed it to Max. 
He said, "Here it is. I caught it under my hat." 

As Max looked at the bat, he said, "It looks like a rat, 
Frank." Frank, who had seen many mice, said, "No, it 
looks like a mouse." (Writes the word mouse.) "We will 
show the bat to Father. Then we will let it fly away again." 

The children carried the bat to the barn and put it in a 
little box. Then they climbed up into the barn loft, where 
there were great piles of hay. They began to run and jump 
on the hay. 

Frank said, "We will run up on the hay. Then we will 
jump down again. Alice, we will pull you up on the 
hay." 

After they pulled Alice up, she said, "Thank you. Now 
I will jump down." Then she called to Grace, "Jump down. 
Jump this way, Grace." 

Frank said, "It is your time to jump again, Alice." 

Just then Frank saw a big round-eyed owl as it flew down, 
and he cried out, "Max, look over your head." 

Max saw the big eyes of the owl and cried, "WTiat is that? 
What is that, Frank?" 

Even though its eyes are big, an owl cannot see well when 
it is light. This owl swooped down, almost striking Max 
on the head, and Frank called out, "Look out, Max! Run, 
run, Max!" When Max ran away, Frank caught the owl 



LESSON PLANS AND TYPE LESSONS 101 

as it flew down. (Writes flew.) He showed it to Grace, 
who said it looked like a cat. 

Frank called to Max, "Come back, Max. It is an owl. 
Come and see it." Max went back to look at the owl and 
said, ' ' How that owl made me run ! ' ' (Remainder of sentences 
are spoken by Max.) 

Phonic Exercise. — (See Phonetic Chart, Group (116), 
page 386.) mouse house grouse 

Seat Work. — Have the children cut out the bat and the 
owl that Frank caught. 

Lessons from Pages 93-98 

Of the new words, window is the only one that must be 
taught in a sentence. The words so, much, swing, and 
shook can all be mastered from drills which the class has had. 

Primer Story. — As soon as the children got to the house, 
they put away the owl and the bat to be shown to Father, 
who was then away from home for a day. 

The next morning Grace found Baby near the window — 
(writes the word ivindow) — with no one to amuse her except 
Mink and Dot. You remember the story I told you of the 
little girl and her baby sister who watched the kitty and 
the sly little fly, don't you? Do you remember the song 
the little girl sang to her baby sister about the little fly, while 
they watched it? Well, that little girl was Grace. After 
the little fly flew away, Baby wanted to go and find 
Mother. But Grace took her back to the window to show 
her a little bird, and then she amused and kept Baby quiet 
by telling her as much about what they had seen in the 
woods the day before as she could think of. When she 
took Baby to the window to look at the little bird, she said 
a rime about the little bird which Baby liked very much. 

Just then Alice came in and said, "It is so pretty to-day. 



102 THE HALIBURTON TEACHER'S MANUAL 

Let us go out and swing Baby. Grace, you may swing with 
Baby." Alice called the boys, as Grace and Baby got into 
the swing, "Come, Frank, let us swing them." Frank and 
Max ran up behind the swing, and Alice said, "Pull, 
Frank. Pull the swing back. Now let it go again, Frank. 
You may run under the swing, Max." 

As she was swinging with Baby, Grace called out to the 
others, "Don't you hear the birds singing? They say, 
* Sweet, sweet, sweet!' Look up over your head at the 
birds. Sing, Baby! Sing, Alice! Sing, boys!" 

And then Grace and all the children sang the song about 
the birds, the flowers, and the sweet springtime, which you 
have been taught to sing. You may sing that song and the 
one about the little fly, too (pages 94 and 99). Then we 
will read from our books. 

Children read lessons from pages 93 through 98. 

Phonic Exercise. — (See Phonetic Chart, Group (122), page 

°°'-) flew blew dew knew 

Class should sound the following words in three parts: 

sweet meet greet sheet 

beet feet street fleet 

Seat Work. — With brown and green crayons the children 
should draw the large oak tree with the swing, in which 
Grace and Baby had such a good time, hanging from a 
stout lower limb. 

Lessons from Pages 100, 101, and 102 

Of the new words, very, Mr., and Mrs. should be taught 
in sentences. The word well can be sounded by the 
children. 

Primer Story. — When Father came home, the children 
began to tell him about the day they spent in the woods, 



LESSON PLANS AND TYPE LESSONS 103 

and about the bat and owl which they had been taking care 
of and now wished to show him. 

Frank said, "Father, we have a bat and an owl which we 
caught. Grace says that the owl looks like a cat." 

"Yes, Frank," said Father. "I think an owl does look 
much like a cat." 

Frank said, "Max says the bat looks like a rat. I say it 
looks like a mouse. Which does it look like, Father? We 
will run and get the owl and bat, and show them to you." 

Father looked at the bat and said, "It looks very much like 
a mouse." (Writes very.) "It looks like a rat, too, Frank." 

Then Frank said, "Father, tell about the owl and the bat. 
Tell about Mr. Owl and Mrs. Bat." (Writes Mr. and Mrs.) 

So Father told the children the story which you are going 
to read. He also drew a picture of the owl and the bat 
sitting up in a tree looking down at a cat and a rat. While 
he told them the story of Mr. Owl and Mrs. Bat, the 
children looked at the picture. 

Children read pages 100, 101, and 102. 

Pages 100 and 101 may be dramatized, or there may be a 
dramatized reading of these pages. 

Phonic Exercise. — From the word owl, the children should 
build a list of new words: G wl howl fowl growl 

Seat Work. — The picture on this page presents a splendid 
model for illustration work, in paper cutting or drawing. 

Lessons from Pages 103-109, and 111 

Of the new words, orchard, flower, meadow, clover, Bossy, 
and tinkle should be presented in sentences. The words 
bees, hum, bell, and hill have been taught in phonic exercises. 

Primer Story. — One day the three children wanted to go 
to the orchard and to the meadow. (Writes the words 
orchard and meadow.) They called Max, and Alice began 



104 THE HALIBURTON TEACHER'S MANUAL 

to tell him about the orchard, the apple trees, the birds that 
nested there, the bees that she liked to hear hum over the 
clover — (writes the word clover) — and buzz from flower to 
flower. (Writes the word flower.) She said, "Max, we are 
going to the orchard," etc. (All the sentences on page 103 
are spoken by Alice, except the ninth sentence, which is a 
question asked by Max.) 

When they reached the orchard, Max cried, "Oh, how 
pretty the apple trees are ! Look at the bees on the flowers ! " 

Alice said, "Do you know what the bees say?" Then she 
began to hum like the bees and afterwards she sang "The 
Song of the Bee," which you will read soon (page 104). 

While the children were in the orchard, Max told Frank 
about the way a bee once got even with Piggie Wee for being 
so greedy. You have heard the story some time ago and 
learned the jingle about "Piggie Wee and the Bee." 

The day after the children were in the orchard, they drove 
the cows down to the meadow where the sheep, the cows, 
and the lambs feed on the clover. Grace's cow, Bossy 
(writes the word Bossy), goes to the meadow that opens 
into the shady little valley where the pretty brook runs 
through. It is there that they generally find Bossy, about 
whose little bell you sing a song. Let us sing the song and 
then we will read about the orchard, the meadow, about 
"Piggie Wee and the Bee" and "Bossy's Little Bell." 

Phonic Exercise. — flower Bossy tinkle clover meadow 
shower mossy twinkle over window 

Lessons from Pages 112 through 115 and 117 

Of the new words, two, hickory, dickory, pease, pudding, 
broke, crown, tumbling, love, and cunning will all have been 
learned when the rimes in which they occur were first 
taught from the blackboard, as directed in Chapter V of 



LESSON PLANS AND TYPE LESSONS 105 

this Manual. The words given below the class can sound, 
since they were included in previous phonic exercises : Jack, 
Jill, sat, clock, dock, struck, rot, hot, old, cold, fell, pail, 
song. 

Before these last lessons of the Primer are taken up by the 
class, the teacher should have read the suggestions in Chap- 
ter V for teaching Mother Goose rimes. 

At the beginning of the Primer lesson, the teacher talks 
for a little while with the class, recalling the way in which 
they have played the rimes, "Two Little Blackbirds," 
"Hickory Dickory Dock," "Pease Pudding Hot," "Jack 
and Jill," "Jack, be Nimble," etc. She may have them 
recite the jingle about "Kitty Mink" (page 119) and the 
rime "I'll Sing a Song" (page 118). They may also recite 
the rime, "Merry Have We Met" (page 121). The chil- 
dren are supposed to have learned these rimes by heart 
weeks before they are to read them in the Primer. 

Primer Story. — One rainy day Alice was playing with 
Baby. She said, "Play 'Two Little Blackbirds', Baby." 
(All sentences on page 112 are spoken by Alice.) 

After a while the other children came in, and Alice said 
to them, "Let us play 'Hickory, Dickory, Dock'." 

"Oh, Alice! Baby cannot run," said Grace. 

"Can she play that she is the mouse?" asked Alice. 

Grace said, "No, but she can watch us run." 

So they all sat down on the floor and recited the rime while 
they played the game. 

After the children played "Hickory, Dickory Dock," 
Frank and Max got up from the floor and sat in chairs to 
play, "Pease Pudding Hot." (Writes the words Pease 
Pudding.) They wanted Grace and Alice to watch and see 
if they kept good time, and whether they could tell, from the 
way the boys touched their hands and knees, when the pease 
pudding was hot, when it was cold (writes the word cold), 



106 THE HALIBURTON TEACHER'S MANUAL 

and when it was in the pot. The two boys repeated the 
rime and struck with their hands, keeping good time. 

After the boys played "Pease Pudding Hot," they recited 
"Jack and Jill" with the girls. Then they all played it. 
Frank got a pail for Alice, who was to be Jill, carrying a pail 
of water. Max, who was to be Jack, helped to carry the 
pail. Frank was to sing the rime while Max and Alice 
acted it and Grace watched to see how they did it. Grace 
could always tell the others how to play the rimes, and she 
it was who started the children off when they were trying to 
decide how to begin. She said, "Alice will be Jill. Max 
will be Jack. You know Jack fell down on his head, and 
Jill came tumbling after." 

Then Grace told Max and Alice just when to come tumb- 
ling to the ground. When Frank, who was singing, should 
come to the words, "fell down," Max was to fall down and 
Alice was to do the same. 

Grace could be heard calling to the actors, "Max, come 
tumbling to the ground. Then Alice must come tumbling 
after." (Writes the word tumbling.) Max and Alice tried 
to come tumbling down at the same moment, and so they 
fell to the floor together. At this Grace laughed and clapped 
her hands, saying, "Oh, you did it very well." Then she 
wanted to have them act it again, so she said to Frank, 
"Now sing." But Frank was laughing so much he couldn't 
sing, so Grace asked Mother to help them this time by sing- 
ing the rime while Max and Alice acted it. 

The Primer Children know the rime called "I'll Sing You 
a Song" (page 118). It tells about a cunning — (writes 
the word cunning) — little mouse, sometimes seen running 
about the house, and the pretty little kitty that is black 
all over like Kitty Mink. Baby likes that song and the 
jingle about Kitty Mink. So, after they had played Jack 
and Jill, Frank asked the others to say the rime about the 



LESSON PLANS AND TYPE LESSONS 107 

little mouse and to sing the jingle about Kitty Mink, just 
to please Baby. 

Class reads lessons from pages 112-115, and 117. 

Phonic Exercise. — cun ning run ning sun ning 
turn bling fum bling stum bling 

Seat Work. — Illustrate the rime by drawing or cutting 
out a picture that will tell the story of "Jack and Jill." 

Lessons from Pages 120 and 121 

Suggestions for teaching the rime "Jack Be Nimble" will 
be found in Chapter V of this Manual, and also for using 
the rime on page 121. Although this last rime is not included 
in the required work of reading from the Primer, the teacher 
will find that the children can read it and enjoy doing so. 
After having memorized it, they like to sing it as a happy 
closing of the day's work in school, standing in a circle for the 
first four lines and dancing around for the last four lines. 

Of the words in this last rime, merry, part, been, and 
happy are new. These and the words nimble, candle, and night 
from the rime on page 120 should be taught in sentences. 

Last Section of Primer Story. — When it is time for the 
children to go to bed, Mother lights a candle — (writes the 
word candle) — in an old-fashioned candlestick for each 
child. The children generally put their candles on a table 
while they dance around and sing their song for Father, 
"Merry Have We Met." 

Mother goes with them to their bedrooms, and often, 
after they are ready for bed, they beg to play "Jack Be 
Nimble." They are never allowed to play this unless 
Mother is there, ready to blow out the candle just before 
"nimble Jack" starts on his run to jump over the candle. 

Our last lesson tells about Max as "nimble Jack" on the 
last night of which we read in our Primer. We will read it 



108 THE HALIBURTON TEACHER'S MANUAL 

and then we will say good-by to our Primer Children, who 
were so merry when we met them first, who have been so 
merry all the way through the Primer, and who will still be 
merry when they meet again to play and sing and work 
through the happy year of the First Reader. 

Phonic Exercise. — nim ble thim ble can die han die 
Seat Work. — The teacher may have the children cut a 
picture of Jack jumping over the candlestick. One of the 
class may pose and then perform the act of jumping over 
some object to represent the candlestick. While the image 
is fresh in their minds, the pupils should cut out the picture. 

Detailed Lesson Plans in Reading from First Reader 
A. Introduction 

An examination of the plan of the First Reader shows the 
following characteristics: To a certain extent this book is a 
continuation of the connected story begun in the Primer, since 
it carries the same Primer Children through a year, — from 
one spring to another. 

The book is divided into seven different Story Groups, 
each of which contains several short lessons and one or more 
long story. Each of the long stories, however, is divided 
into short parts, not more than a page in length. In this 
way, it will be seen, the book is so planned that very back- 
ward or poorly prepared children may have as short lessons 
as may be necessary; that is, they may have, as one recita- 
tion, one of the short lessons of the story group, or one divi- 
sion of the long story. For the child of ordinary ability 
and normal advancement this will be neither necessary nor 
desirable. Indeed, if the pupils have had the preliminary 
blackboard lessons and Primer work in phonic exercises and 
reading as outlined in this Manual, they will be able to read 
through the First Reader at a very rapid rate, and will begin 
to read for the pleasure of reading. 



LESSON PLANS AND TYPE LESSONS 109 

With a view to adapting the book to the normal pupil, as 
well as to the pupil whose progress has been retarded, a plan 
for the development of the subject matter is given below, 
which, though perhaps somewhat unusual, will be of value 
to the teacher who follows it. 

The treatment of the short lessons of a Story Group is 
quite different from that given to the long stories and to the 
longer poems of the same group. The long story or longer 
poem, although included in the Story Group, is not treated 
as essentially a part of it, but is treated as a unit in itself 
and is presented as a type lesson; that is, as a model which 
may be followed in developing any story of a similar kind. 
On the other hand, the shorter stories and rimes of each 
group are treated as so many parts of a unit, the Story 
Group being the unit of which they are the parts. Several 
of the short stories of each group are taken together and 
developed at the same time under the five steps which are 
given below. The teacher will take at one time only as 
much of what is given under each step as she needs, if her 
pupils cannot take all that is indicated for one recitation. 

At the end of most of the short lessons and at the close of 
some of the divisions of the long stories in the First Reader 
appear lists of words for phonic exercises, each list empha- 
sizing one certain phonogram. It will be found that many 
of these phonic exercises are only reviews of what the chil- 
dren have had in the Primer work. The vocabulary of the 
First Reader comprises about 360 words, of which at least 
60 have been learned already by the pupils who have had the 
phonic exercises outlined in the Manual for the Primer work. 

The five steps in developing a number of short lessons at 
one time are as follows: 

Step 1. Study of the lesson pictures. Talk with the teacher. 

Step 2. Study of the words listed as new, to be classed 
under three heads: 



110 THE HALIBURTON TEACHER'S MANUAL 

(a) Words that the children have had in previous phonic 
drills and should now be able to pronounce at sight. 

(b) Words that are new but which the children can sound 
and get for themselves since they know some letter or com- 
bination of letters in each word that serves as a key to the 
pronunciation of the whole word; as, ea in stream, oa in 
toast, ai in waiting. 

(c) Words that the teacher has just used in sentences. 
Step 3. The silent reading of the lesson preparatory to 

the oral reading. 

Step 4. The oral reading of the lesson. 

Step 5. Exercises in sounding and syllabifying lists of 
words. Exercises with the Phonetic Chart are included 
under this Step. The teacher will not need numbered refer- 
ences to sections of the Chart, which is to be found on pages 
373-398 of this Manual. 

The work under Step 2 and that under Step 5 is to be 
kept separate from the work done at the regular reading 
period; it should be done during the time allotted to 
Word Study and Phonic Exercises. 

B. First Story Group; "With the Children and the Birds," 
pages 1-13 

Section to be Read — Pages 1,2, 3, and 5 

Step 1. — Study and Discussion of Lesson Pictures. 
Preparatory Talk with the Teacher. Teacher: I wish you 
to look at the first three pictures in your book. Look first 
at the one on the title-page. Tell me who these children 
are. Yes, here we see again Frank, Grace, Alice, Max, and 
Baby, grown now into a girl large enough to be called by her 
own name, Betty. (Writes Betty.) I think the Story 
Children have all grown a great deal. Don't you? 

Look next at the picture on page 1. Here you see our 



LESSON PLANS AND TYPE LESSONS 111 

three girls — (writes girls) — again. Tell me what you 
think they are doing and saying. Have they any of their 

— (writes their) — playthings with them? Don't you 
think they seem to be having a happy — (writes happy) 

— time? 

Now turn to the picture on page 4. Tell me whom you 
see in the picture, what each is doing and what you imagine 
each is saying. Now tell me everything else you see in the 
picture. I am glad you noticed the tall oak tree, and the 
stone wall with the rose vine on it, and the pump where 
father gets the good cool water. Yes, he must be giving 
some to Betty for the hen and chicks. Don't you remember 
Mother Jet and Ducky Bet? I wonder what has become of 
them! Yes, I see the black kitty-cat. It does look like our 
lazy little friend, Mink, but it can't be Mink. No doubt she 
is a grown-up mother cat by now. What place do you think 
this picture shows? Yes, it is the children's home. We will 
read about it, about the little girls we know, about a bird 
swing, and we'll read the song about the red, red rose on the 
wall. But first let us be sure we know all the words of these 
lessons. (The teacher should have made opportunities to 
point to the newly developed words on the board during her 
talk and thus incidentally to have given drill upon them.) 

Step 2. — Word Study. Teacher: (a) Pronounce these 
words, which we have already had in phonic drill: hope, 
dear, years, tree, top, three; (b) Sound these words (you 
can do so, though you may never have seen them) : rose, oak; 
(c) Now, pronounce the new words we learned to-day: 
their, Betty, girls, happy. 

Step 3. — Silent Reading at Seats. Teacher: You may 
read the lessons on pages 1, 2, 3, and 5 so that you may be 
ready to answer the questions I shall ask in class. 

Step If. — Oral Reading in Class. Discussion of Lesson 
with the Teacher. The teacher will know how to make 



112 THE HALIBURTON TEACHER'S MANUAL 

good use of the questions in the lesson on page 5, allowing 
one child to read the questions and another to look at the 
picture and find there the answer. She will take time to 
discuss any point that interests the children even if it is 
merely their surprise to find a new black kitty-cat named 
after Alice's old pet, the snowy white Dot. 

Step 5. — Pronunciation and Analysis of Words. Teacher: 
(a) Pronounce rapidly the words at the bottom of pages 
1, 2, 3, and 5. (See Phonetic Chart.) (b) We will build new 
words from some words that you know (the teacher writes 
the words on the blackboard and the children pronounce 

them ) : oak oak oak oak 

soak cloak croak oaks 



bird 


girl 


pig 


birds 


girls 


pigs 


birdie 


girlie 


piggie 


birdies 


girlies 


piggies 



(c) Give each of the parts, or syllables, of these long words 
as if each syllable were a short word, then give the whole 
long word: Bet ty hap py 

Jen ny bon ny 

Bil ly fun ny 

Gran ny sil ly 

Section to be Read — Pages 6, 7, and 8 

Step 1. — Children study picture on page 6. The teacher 
talks about the kind of bird and nest shown in the picture. 
She draws out the children to tell all they know about orioles 
and their nests, shows colored picture of the bird and a 
deserted oriole nest, if one can be procured. 

Teacher: Of what does this kind of nest make you think? 
(Swing, hammock, cradle.) What does the wind — (writes 



LESSON PLANS AND TYPE LESSONS 113 

wind) — do to the nest and the baby birds when it bends 
the bough — (writes bough) — gently? What happens when 
the bough breaks? Who knows the song, "Rock-a-by, baby, 
in the tree-top"? (Writes phrases Rock-a-by and in the tree- 
top.) Who knows the song about three little eggs — (writes 
phrase three little eggs) — that are blue as blue can be? 
(Writes phrase blue as blue can be.) 

Who remembers the rather sad story I told you long ago 
about the lost baby birds? It was the story that the poor 
parent birds told of leaving their baby birds to go and find 
something — (writes something) — for them to eat, and of 
finding the birdies gone — (writes gone) — when they came 
back to the green tree. Who can sing the song of "The 
Green Tree" in which the sad little bird mates tell us their 
story again? 

Step 2. — (a) Children pronounce known phonic words : 
just, rock, by, rest, hung, sung; (b) Children sound unknown 
phonic words : safe, safely, vine, eat; (c) Children pronounce 
newly developed words: bough, wind, blew, something, gone. 

Step 3. — Children read lesson silently at seats. 

Step If. — Children read lesson orally in class. Discuss 
points of interest with the teacher. 

Step 5. — Children pronounce and analyze words, (a) 
Pronounce rapidly lists of phonetic words at bottom of 
pages 6, 7, and 10, and those at the right of page 9. (See 
Phonetic Chart.) (b) Children pronounce the new words 
that are built from the known word eat: 



eat 


eat 


eat 


eat 


neat 


neat 


heat 


peat 


seat 


wheat 


cheat 


treat 



Suggested Seat Work, Page 7. — Draw a nest with three 
eggs in it. Color the eggs blue. 



114 THE HALIBURTON TEACHER'S MANUAL 

Section to be Read — Pages 10-13 

Step 1. — (Teacher asks the class to look at picture on 
page 10.) Tell what each of the children is doing. Tell 
what you fancy each is saying. Look at picture on page 11. 
What kind of birds shown? By what other name is the 
meadow lark called? (Writes lark.) Yes, the field lark. 
Where do they build their nests? Yes, down on the ground 
in the grass. (Writes grass.) 

Teacher tells about another kind of lark not found in 
this country, called the sky lark, which sings as it flies 
higher and higher through the air (writes air), and whose song 
can be heard even when the bird has flown so high that he 
cannot be seen. 

(Children look at picture on page 13; teacher speaks of 
the gentleness of lambs.) Notice how still the lamb stands 
for Alice to put — (writes put) — the flowers on its neck. 
What time of the year do you think it is? Yes, in the beau- 
tiful verses under the picture we read that once again 'tis 
spring. (Writes once again.) I will read those verses for 
you after you read the other lessons for me; then you may 
read the verses for me. 

Step 2. — (a) Children pronounce known phonic words 
found in the lesson : such, found, round, deep, His; (b) Chil- 
dren sound unknown phonic words found in the lesson: 
neck, God; (c) Children pronounce newly developed words: 
larks, air, grass, put. 

Step 3. — Children read lesson silently at seats. 

Step Jf,. — Children read lesson orally in class. Discuss 
points of interest with the teacher. 

Step 5. — Children pronounce and analyze words, (a) 
Pronounce rapidly words at bottom of pages 10, 11, and 12. 
(See Phonetic Chart.) (b) Children pronounce new words 
built from known words: 



LESSON PLANS AND TYPE LESSONS 115 



air 


air air 


air 


fair 


hair pair 


stair 


lark 


dark 


park 


bark 


mark 


spark 


ted Seat 


Work, Page 11.— Mold 


I a lark's nest of 



Suggested 

clay. Show the eggs in the nest. Page 13. — Draw a land- 
scape that will show it is spring. How will the sky look? 
What color will the grass be? Is there anything else you 
can include that will show it is spring? Re-read the poem. 

C. Second Story Group; "In Summer Time," Pages 14-39 
Section to be Read — Pages 14, 15, and 16 

Step 1. — Teacher: Tell what you think the picture on page 
14 shows. What is each person doing? What time of the 
year do you think it is? Yes, it is summer. (Whites sum- 
mer.) What is Frank helping Father to do? Yes; did you 
ever see anyone mow g~ass? (Writes mow.) Alice met Max 
going to the meadow and sang — (writes sang) — a song that 
you know. You'll read it in the lesson. 

Look at the picture on page 17. It is the picture of a 
beautiful — (writes beautiful) — summer night. You know 
what the moon sees when the stars — (writes stars) — peep 
down at the meadows, where the lambs and the baby larks 
and other creatures are all asleep, and you can sing the song 
called '* All Asleep." You will like to read the words of the 
song, on page 18, and sing it from the book. 

Step 2. — (a) Pronounce the known phonetic words: 
bright, sleep, asleep; (b) Sound the unknown phonetic words : 
green, help, stars; (c) Pronounce the newly developed words : 
summer, mow, sang, beautiful, stars. 

Step 3. — Read lesson silently at seats. 

Step If.. — Read lesson orally in class. Discuss interesting 
points with teacher. 



116 THE HALLIBURTON TEACHER'S MANUAL 

Step 5. — (a) Pronounce rapidly words at bottom of pages 

14, 15, and at the right of page 18. (See Phonetic Chart.) 

(6) Build new words from words that are already known: 

star barn yard 

car darn card 

far yarn hard 

tar harm lard 

(c) Syllabify long words: 

sum mer mat ter sil ver 

lad der mas ter win ter 

rob ber plas ter gath er 

Suggested Seat Work, Page 11±. — Draw or cut out rakes like 
those that Frank and Max have. 

Section to be Read — Pages 19 and 33 

Step 1. — Teacher: On page 19 you will read of a little 
mouse which the children saw while they were in the field — 
(writes field) — with Father. It was a field mouse and is a 
cousin to the mice — (writes mice) — that stay in the 
house. The children's father told them about another 
mouse which is called the white-footed, or deer, mouse. It 
is a pretty little creature with soft, clean fur. It builds its 
nest in a tree, much as a bird does, and strange to say it 
makes a noise that resembles the singing of a bird. Alice 
thinks it must have been taught by the birds how to build 
its nest and how to sing; and perhaps it was. Father told 
the children a pretty story — (writes story) — about some 
little mouse cousins, and the story of a little lamb. You 
will read both stories — (writes stories) — by and by. 

But before you read them I wish you to turn to page 33 
and look at the picture. Tell me what each child is doing, 
what you fancy each is saying. What place does the picture 
show? Yes, it is the stable. (Writes stable.) What are 



LESSON PLANS AND TYPE LESSONS 117 

Father and the boys going to do? Where will they put the 
hay? Yes, in the hayloft — (writes hayloft) — where you 
see Grace and Betty. How do you suppose they got up in 
the hayloft? Yes, by the ladder — (writes ladder) — at the 
door. The children think the hayloft is a fine place — 
(writes place) — to play. They like it best when it is filled 
with newly mown hay like that which they have just brought 
from the meadow. 

Step 2. — (6) Sound the new phonetic words : mice, place, 
from; (c) Pronounce the other newly developed words: 
field, story, stories, stable, ladder, hayloft. 

Step 3. — Read the lesson silently at the seats. 

Step J/.. — Read the lesson orally in class. Discuss inter- 
esting points with teacher. 

Step 5. — (a) Pronounce rapidly the words at bottom of 
pages 19 and 33; (b) Make lists of new words from known 
words. mice nice rice price twice 

(c) Syllabify words as follows: 

sto ry sta ble clo ver 

ro sy ta ble o ver 

Suggested Seat Work, Page 33. — Cut out the ladder that 
the children used to climb in the hayloft. Cut out or draw 
the pitchfork. 

Section to be Read — Pages 31±, 35, and 36 

Step 1. — Teacher: Look at the picture on page 35. What 
are the little girls doing? Where do you think they are? 
Yes, in the garden. (Writes garden.) What flower do you 
think Grace is gathering? (Writes gathering.) Yes, she is 
gathering roses or rosebuds. (Writes rosebuds.) In the 
poem on that page you will find that Grace is saying to the 
rosebuds, "Good morrow" — (writes Good morrow) — which 
is a quaint, pretty, old-fashioned way of saying Good morning. 



118 THE HALIBURTON TEACHER'S MANUAL 

You will find that Grace asks the rosebuds what a body — 
(writes body) — must do to become as sweet as the rose. 

Alice is not gathering roses. What flowers do you think 
she is gathering from the ground? Yes, violets, I suspect. 
What other flowers can you think of that grow in flower 
gardens? How many of you have sweetpeas — (writes 
sweetpeas) — in your garden? What color are they? How 
many have daffodils? (Writes daffodils.) What color are 
daffodils? Yes, they are a lovely yellow. (Writes yellow.) 
Do you remember a rime we learned to say about little 
Daffydowndilly? (Writes Daffydowndilly.) She was de- 
scribed as wearing a yellow bonnet — (writes bonnet) — and 
a green gown. (Writes gown.) You know, Daffydowndilly 
is another name for the daffodil with its green stem and 
leaves and its yellow blossom. Perhaps at the still hour of 
midnight in the sweet summer time, the daffodil is changed 
into a beautiful little fairy, Little Daffydowndilly who has 
just come to town — which means, has just sprung out of 
the ground — in her yellow bonnet and green gown. Per- 
haps at midnight, she looks like the fairy on page 36. 

Step 2. — (a) Sound the phonetic words : pray, true, gown; 
(b) Pronounce the newly developed words: body, morrow, 
garden, rosebuds, yellow, daffodils, gathering, Daffydowndilly. 

Step 3. — Read lesson silently at seats. 

Step k- — Read orally in class. Discuss interesting points 
with teacher. 

Step 5. — (a) Pronounce rapidly lists of words at bottom 
of page 36; (b) Syllabify long words as follows: 

yel low wind ow mead ow 

mor row shad ow f ol low 

gar den gold en 

kit ten bright en 

mit ten chil dren 



LESSON PLANS AND TYPE LESSONS 119 

vi o let beau ti ful 

di a mond gath er ing 

daf fo dil sil ver y 

Daf fy down dil ly 

Suggested Seat Work, Page 34- — With colored crayons 
draw violets and any other pretty flowers you see growing 
in gardens. Page 35. — Draw the daffodil. 

Section to be Read — Pages 37, 38, and 39 

Step 1. — Teacher: Look at the picture on page 37. 
What do you think is the trouble? Why is the little girl 
wiping the tears from her eyes? (Writes eyes.) Yes, she 
has lost her little shoe. (Writes lost her little shoe.) Do you 
not remember the rime about little Betty Blue? 

Now you may look at the picture on page 39. Where 
are the little girls? What has Alice in her hands? What 
has Grace? What hac little Betty? What do you suppose 
the little girls are playing? What are they making believe 
that Betty is? Yes, a queen. (Writes queen.) I think so. 
She has on a crown of flowers, instead of diamonds — (writes 
diamonds) — such as real queens have in their crowns. 
Don't you remember how you played the rime that begins, 
"Little girl, little girl, where have you been?" (Writes 
been.) Well, I think you will find that Alice, Grace, and 
Betty are acting that rime. 

Step 2. — (a) Sound the words : lost, queen, gave; (b) Pro- 
nounce the new words: eyes, shoe, been, and diamonds. 

Step 3. — Read lessons silently at seats, with the purpose 
stated by the teacher: "When you come to class, be able 
to show me, before you begin to read, just which sentences on 
page 38 are spoken by Grace and which by Alice. Remem- 
ber, Grace is the one who always tells the other children how 
to act the rimes." The teacher should have studied the 



120 THE HALIBURTON TEACHER'S MANUAL 

lesson closely enough to be able to guide the children in 
this. 

Step 4- — Read the lesson orally in class, emphasizing 
dialogue reading. 

Step 5. — (a) Pronounce rapidly words at bottom of 
pages 37 and 38; (b) Syllabify words as follows: 

chil dren gath er ing 

hun dred fright en ing 

oth er match 

an oth er match ing 

moth er catch 

broth er catch ing 

The Field Mouse and the Town Mouse: A Study Lesson 
with the Teacher 

In the following exercise the teacher and class work 
together to find the main thought of the lesson. The pupils 
need not be aware of the purpose that the teacher keeps 
constantly in mind, which is that she is developing a method 
of study, training her pupils to study; but they will enjoy 
the work thoroughly if it moves swiftly and vigorously. 

The child's interest in the subject matter may be depended 
upon to some extent for the mastery of new or difficult words 
and phrases as he reads — without special preparation — to 
find the answer to the teacher's questions. 

The teacher who knows the strength of her class will know 
when special help is needed and, in the preparatory discus- 
sion or talk, will use the words and phrases which require 
drill, writing them on the blackboard as she speaks them. 

After the preparatory talk is finished, the teacher will put 
questions to the class, which are designed to bring out the 
thought of the lesson and which must never become dry and 
mechanical. The children, with books open before them, 



LESSON PLANS AND TYPE LESSONS 121 

will read to find the answers, which they will give in their own 
words, since it is the child's own interpretation of the thought 
which is of most value. Sometimes he may be asked to "tell 
it from the book" or be asked to "give the very words that 
were spoken." This will mean that he is to read certain 
lines aloud. When he reads aloud "the very words that 
were spoken," he must try to read with expression, thus 
being prepared for dramatic reading exercises. 

Preparatory Talk. — I wish you to tell me whether you 
would rather live in the town or in the country and why. 

(Probable answers.) In the town. Because there are 
more people in the town, and the houses are nearer together. 
There are more interesting places to go to. There are more 
interesting things to see. It is so much easier to get what 
one needs. People have so many more things in town, etc. 
The houses in the country are too far apart. It is lonely in 
the country. There are no interesting things, like picture 
shows, to be seen in the country. People have to work harder 
in the country. People don't have so many things that they 
like if they live in the country, etc. 

Do you think that those who have most of the things they 
like are always the happiest? 

Let us read this story before you try to answer. 

You may read the first two lines and then tell me whom 
the story is about and where they lived. (Ans.) It is 
about two mice. One lived in town and the other in the 
fields. 

What did the town mouse do? (Ans.) He went to see 
the field mouse. 

Read the part that tells you about this visit and what the 
mice said to each other. Then you may tell it to me. 
(Children read to bottom of page 20; one gives the substance 
of what they've read in his own words.) 

Do you think that the town mouse liked what his cousin 



122 THE HALIBURTON TEACHER'S MANUAL 

gave him to eat? Find and read aloud the words he spoke 
which make you think he didn't like it. (Child reads aloud, 
"Are wheat and corn all you have? . . . Come with me. 
I will give you something good to eat.") 

Did the field mouse go? Read on page 21 to find out. 

In what kind of house did the town mouse live? (Arts.) 
A fine house. 

Find and read aloud the words that the town mouse spoke. 
(Child reads aloud, "This is my home. Now I will show you 
the things I eat.") 

Read the part that tells what the mice did and what they 
saw, but don't tell me what was said. {Arts.) They stole 
into the house. They saw sweet cakes, buns, apples, oranges, 
a pudding, and some meat. 

Find and read aloud the words that the field mouse spoke 
and which show what he thought of all he saw. (Child reads 
aloud, "This is fine! Just look at that meat! I do like 
meat! I shall not live in the fields again.") 

Now we will read the rest of the story and decide whether 
the country or the town is the best home for a little mouse. 

Read eight lines on page 22 and then tell me what the mice 
did after they had looked at all the good things, and what 
happened. (Arts.) The mice fell to eating, and just then a 
boy and a dog came into the room. 

Read aloud the words that the town mouse called out to 
his cousin. (Child reads aloud, "There is Jack with the 
dog! Run!") 

What did the dog do? {Arts.) Ran after the mice with a 
growl. 

Read the rest of page 22 and then tell me what happened 
when the mice came into the room again. What did the 
girl do? Read aloud the words that the town mouse called 
out this time. (Child reads aloud: "There is Jill with the 
broom! Run! Hide!") 



LESSON PLANS AND TYPE LESSONS 123 

Read four lines on the next page and tell me what hap- 
pened when the girl left the room. 

Read aloud the words that the town mouse called 
out. 

Read the rest of the page and then tell me how you think 
the field mouse felt about all that had happened. 

Read aloud the words that the field mouse spoke. 

Now tell me which place you think makes the best home 
for a mouse, the town or the country, and why you think 
so. 

Now that you have told me what you think about that, 
what do you think about ourselves? If we happen to have 
less than some other people, should we be dissatisfied? 

Should you like to have me arrange this story so you can 
play it? Well, after you read it smoothly from the book I 
will write it for you to play it; though you will have to read 
what I write for you several times. 

Who do all the talking in this story? Yes, the two mice. 

There are others in the story who do things; who are they? 
Yes, the boy Jack, the girl Jill, the dog, and the cat. 

The following suggested dramatization may be written on 
the board for a dramatized reading. The words in paren- 
thesis may be read by the teacher in tones lower than those 
used by the children, who may thus be led gradually to read 
silently all such directions. 

The pupils should learn that in a dramatized reading 
lesson the voice alone must show who is talking and what 
the talker feels. They can be led to help the voice by facial 
expression, posture, gestures, etc., while speaking. 

Movement and gesture may be left until they have read 
the sentences so often as dramatized reading that they can 
give them in their own words, and be free to act or really 
play the story. 



124 THE HALIBURTON TEACHER'S MANUAL 

The Field Mouse and the Town Mouse: Suggested 
Dramatization 

Scene I. — Town Mouse {talking to himself as he walks 
along a road) : I am going to see Cousin Field Mouse. I just 
must see how he lives, out here in the fields. (Walks on 
until he meets the field mouse.) 

Field Mouse: Good day, Cousin, where are you going, 
this fine day? 

Town Mouse: I was on my way to see you. 

Field Mouse: Good! Such fine fun as we will have, 
running in the fields. Let's be off at once. {Mice run out 
of sight but soon return.) 

Field Mouse: We must have something to eat soon. I 
hope you like wheat and corn, Cousin. 

Town Mouse: Are wheat and corn all you have? 

Field Mouse : Yes, I eat wheat and corn year after year. 

Town Mouse: Come with me to my home. I will give 
you something good to eat. 

Field Mouse: I am very glad to go home with you, 
Cousin. {The two mice walk off arm in arm.) 

Scene II. — Town Mouse {pointing) : We have come 
safely to this fine house. It is my home. Now I will show 
you good things to eat. {The two mice steal into the house and 
then into a room where there is a table filled with things to eat.) 

Field Mouse {holding up his paws as he walks around 
the table): Oh, what do I see? Such good things to eat! 
Here are oranges and apples. Here is pudding and some 
meat. This is fine! Just look at this meat ! I do like meat! 
I shall not live in the fields again. 

Town Mouse: Let us fall to eating at once. {Mice 
begin to eat. Boy with dog comes into room.) There is Jack 
with the dog! Run! {Mice run; dog runs after them with a 



LESSON PLANS AND TYPE LESSONS 125 

growl till the mice get out of sight. Boy and dog leave the room. 
Mice steal in again, begin to eat. Girl with a broom comes in.) 
There is Jill with the broom! Run! Hide! (Girl strikes at the 
mice with the broom as they run out of sight. Girl leaves the room. 
Mice come back, begin to eat. Boy with the cat steals in.) 
There's the cat ! Jump ! Run ! Hide ! (Mice run out of sight, 
the cat after them. Boy leaves and mice come back into the room.) 
Field Mouse: Good-by, Cousin; I'm going where corn 
and wheat grow. To be sure I have not much to eat. But 
I'm safe there. Good-by, Cousin. (Leaves the room. 
Town Mouse falls to eating again, but soon runs out as the girl 
the boy, the dog, and the cat come in and run after him.) 

Lambikin: A Study Lesson 

Lambikin is an old folk tale, which, as a child's story, has 
admirable qualities. It has a good beginning and ending. 
It makes a story appeal to the child's interest all the way 
through, since something is happening all the time, and the 
child stands on mental tiptoe to know what is going to hap- 
pen next. Besides being full of dramatic action, it abounds 
in such repetitional phrases as, ''So he went hopping, jump- 
ing, and dancing along," "The fox with a howl," "The wolf 
said with a growl," "The lion said with a roar," and longer 
riming sentences; as, 

"Don't eat Lambikin 
Till he goes to Grannikin, 
Then very fat he'll grow 
And you can eat him so." 

or, "Fallen into the fire and so will you, 

On, little Drumikin ! Tum-tum-too ! " 

Repetition of such riming phrases and sentences delights 
children and makes the story easy for them to read. 



126 THE HALIBURTON TEACHER'S MANUAL 

If the First Reader class have had the training outlined 
in the Primer work, they should be able to read this story as 
a unit; but if more than one lesson is necessary, the story 
may be divided naturally, as: Part I, Lambikin's Journey 
to Grannikin's; Part II, Lambikin's Journey Home. 

Part Z, Lambikin's Journey to Grannikin's. — A stated 
aim that would introduce the story and give a motive for 
reading it might *be, "Let us read this story of a little lamb 
to learn how he saved himself," or, "Let us read and find out 
who in this story was cleverest." The last will call for a 
comparison later of what each of the characters accomplished. 

Teacher: Here is the story as Father told it. Read to 
find what Lambikin did one day and then tell me. (Ans.) 
He went to the other side of the hill to see Granny. 

Now read so that you can tell me whom he met first, what 
was said, and what was done. (It will require some judg- 
ment on the part of the child to select just the part that tells 
about the meeting with the fox; but if the instructions for 
Primer work have been carried out, the pupils will, by this 
time, have been trained to read thought units.) 

Read and then tell whom Lambikin met next, what was 
said and done. Whom did he meet next, and how did this 
meeting turn out? 

Did Lambikin reach the place for which he started out? 
Read the line that tells you so. (Child reads, "At last he 
came to kind old Granny's house.") 

Read on the next page the words that Lambikin spoke 
when he got there. What did he begin at once to do? 
(Ans.) To eat. Read the line that tells you so. 

Lambikin stayed with Granny and ate grass for a good 
while, and then Granny said something to him. Find and 
read her words. (Child reads, "Lambikin, my pet, you are 
as fat as you can be. You must go home to-morrow.") 

I wonder if Lambikin wanted to go home! You say he 



LESSON PLANS AND TYPE LESSONS 127 

didn't want to go home. Why didn't he want to go? Read 
and find out. Read the words that Lambikin spoke. 

Read the words that Granny spoke. 

Part II, Lambikin' s Journey Home. — Whom did Lambi- 
kin meet first as he went rolling along? 

Could the Hon see Lambikin? I wonder why he couldn't! 

Do you suppose the lion thought the drum was some live 
thing, some animal? Why do you think so? (Ans.) He 
spoke to the drum. 

What did he ask the drum? What did he call the drum? 
Drumikin means "little drum." Read aloud what Lambi- 
kin called out from the inside of the drum. 

How did that make the Hon feel? (Ans.) Afraid. Read 
the lines that make you think he was frightened. 

Whom did the Lambikin meet next as he went rolling 
along? Could the wolf see the Lambikin? 

Read what he said and what Lambikin called out. How 
did the wolf feel? What did he say? What did he do? 

Whom did Lambikin meet next as he went rolling along? 

What did the fox say to the drum? 

What did Lambikin call out? 

Read what the fox said to himself. You will have to read 
some lines on page 31 to find all that he said to himself. 

What did the fox do? What about the drum? Read the 
words that the fox could hear Lambikin singing as he got 
near to his home. 

While the story and the repetitional phrases in which it is 
told are fresh in the minds of the children, it might be well 
to dramatize the story, after it has been studied with the 
teacher, and before reading it uninterruptedly from the book. 

The responsibility of planning the dramatization should 
be placed as far as possible upon the children. The char- 
acters should be selected for their peculiar fitness to take the 



128 THE HALIBURTON TEACHERS MANUAL 

parts assigned them. The teacher assists mostly by asking 
questions such as the following: Who will make a good 
Lambikin? Come and show me how Lambikin went along 
as he was going to Granny's house. Who will make a good 
lion? How must the lion talk? Show me how you will 
roar as you talk. Who will make a good wolf? How does 
a wolf talk? Show me. Who will make a good fox? How 
did the fox talk? 

A dramatized reading may be secured by simply requiring 
the chosen "readers" to read only the words that were 
spoken. Afterwards the teacher may write on the board 
for dramatized reading — and still later for acting — the 
suggested dramatization that follows. 

Lambikin: A Dramatization 

[Note. — No paraphernalia are needed for this very simple dramatization 
except a large paper basket to be used as the drum. No suggestions will 
be needed except, perhaps, that the impersonator of "Lambikin inside 
of Drumikin" might whirl at intervals as he runs, to suggest Drumikin 
rolling downhill.] 

Scene I: Lambikin s Journey to his Granny's House. — 

Lambikin: I'm a wee happy lamb. I'm going to the 

other side of the hill to see my Granny. (He goes hopping, 

jumping, and dancing along. The Fox comes toward him out 

of the woods.) I see a fox. 

Fox (with a growl): Lambikin! Lambikin! I'll eat you! 
(Lambikin runs away from the Fox, who pursues; then, looking 
back, speaks as he runs.) 

Lambikin: Don't eat Lambikin 

Till he goes to Grannikin. 
Then very fat he'll grow, 
And you can eat him so. 

Fox (stopping): Well, I like fat lambs. So go on your 
way to your Granny's house, but be sure to come back this 



LESSON PLANS AND TYPE LESSONS 129 

way. (Lambikin goes hopping, jumping, and dancing along. 
The Wolf comes toward him, howling.) 

Lambikin: I see a wolf. 

Wolf: Lambikin! Lambikin! I'll eat you! {Lambikin 
runs away as before, speaking to the Wolf over his shoulder as 
he runs.) 

Lambikin: Don't eat Lambikin 

Till he goes to Grannikin. 
Then very fat he'll grow, 
And you can eat him so. 

Wolf (stopping): Well, I like fat lambs. So go on to 
your Granny's house. But be sure to come back this way. 
(Lambikin goes hopping, jumping, and dancing along. The 
Lion comes toward him, roaring.) 

Lambikin: I see a lion. 

Lion: Lambikin! Lambikin! I'll eat you! (Lambikin 
runs away as before, speaking to the Lion over his shoulder as 
he runs.) 

Lambikin: Don't eat Lambikin 

Till he goes to Grannikin. 
Then very fat he'll grow, 
And you can eat him so. 

Lion (stopping) : Well, I like fat lambs. So go on to your 
Granny's house. But be sure to come back this way. 
(Lambikin goes hopping, jumping, and dancing along to 
Grannikin* s.) 

Lambikin: At last I've come to kind old Granny's house. 
(Calls out.) I'm here, Grannikin! I've come to eat grass 
and grow fat. Just come and see me eat it! (Lambikin 
begins to eat grass. Grannikin comes out of her house and 
joins him. They pass out of sight, eating grass as they go.) 

Scene II: Lambikin' 's Journey Home. — (Lambikin is 
lying down. Grannikin walks up to him.) 



130 THE HALIBURTON TEACHERS MANUAL 

Grannikin: Lambikin, my pet, you are as fat as you can 
be. You must go home to-morrow. 

Lambikin {crying aloud): Baa! Baa! What shall I do? 
The Fox, the Wolf, and the Lion like just such fat lambs as 
I am. They will be sure to eat me to-morrow. 

Grannikin: No, no. You shall go home in a sheepskin 
drum. Just see me make a drum of this sheepskin. {Gran- 
nikin works at the drum, and soon throws it over Lambikin.) 
Now roll away, my pet. {Lambikin rolls along, peeps out, sees 
the Lion.) 

Lambikin: I'm about to meet the Lion. But he can't 
see me inside of Drumikin. {Lion comes roaring.) 

Lion: Drumikin! Drumikin! Have you seen Lambikin? 
{Lambikin, without stopping, calls out from inside the drum.) 

Lambikin: Fallen into the fire, 
And so will you! 
On, little Drumikin! 
Turn- turn- too ! 

Lion: The woods must be on fire. I'll run away as fast 
as I can go. {The Lion runs out of sight.) 

Lambikin {peeping out): I'm about to meet the Wolf. 
But he can't see me inside of Drumikin. {Wolf comes howling.) 

Wolf: Drumikin! Drumikin! Have you seen Lambikin? 
{Lambikin, without stopping, calls out from inside the drum.) 

Lambikin: Fallen into the fire, 
And so will you! 
On, little Drumikin! 
Tum-tum-too ! 

Wolf: The woods must be on fire. I'll run away as fast 
as I can go. {The Wolf runs out of sight.) 

Lambikin {peeping out) : I'm about to meet the Fox. But 
he can't see me inside of Drumikin. {Fox comes growling?) 

Fox: Drumikin! Drumikin! Have you seen Lambikin? 
{Lambikin, without stopping, calls out from inside the drum.) 



LESSON PLANS AND TYPE LESSONS 131 

Lambikin: Fallen into the fire, 
And so will you! 
On, little Drumikin! 
Tum-tum-too ! 
(Fox stops to think.) 

Fox: Lambikin is in that Drumikin as sure as I'm a fox. 
And Drumikin is nothing but an old sheepskin. I'll soon 
stop your ride, Mr. Lambikin. (Fox runs after Lambikin. 
Lambikin talks to himself as he rolls faster.) 

Lambikin: We are rolling safely along. Down the side 
of the hill we go. 
(Lambikin peeps back at the Fox and sings aloud.) 

I'm in the Drumikin! Tum-tum-too! 
(Lambikin jumps out, waves at the Fox, and sings louder.) 

I'm safe at home. How do you do? 
(He runs out of sight. Fox turns and walks back.) 

D. Third Story Group: "Fun for Rainy Days," pages 40-63 
Section to be Read — Pages JfO-1^5 

Step 1. — (Words to be developed: want, every, who, 
should, our, picture, beggars, velvet, horn, chair, haystack.) 
Teacher: Study the picture on page 40, so you can answer 
my questions. Where are the children standing? What 
are the children doing? They are repeating a rime that you 
children know and which you sometimes say here in the 
school on rainy days. Who — (writes the word who) — can 
tell me what it is? Repeat it. You shall read it soon. 

There is a pretty song that I like to have you sing when we 
have a gloomy, rainy day, when some of us feel a little 
gloomy ourselves because it is dark and we want — (writes 
want) — it to stop raining, though we should — (writes 
should) — be glad to have the rain help the flowers grow. 
Who knows what song I mean? Yes, it is the song that says, 



132 THE HALIBURTON TEACHER'S MANUAL 

" In every — (writes every) — little drop, I see field flowers 
on the hills." Who will sing it? You may read it soon. 

Now look at the picture on page 42. What are the chil- 
dren doing? What book do you think they are looking at? 
What book do we love very much and use a great deal on 
Friday afternoons and on rainy days? Yes, our — (writes 
our) — Mother Goose book. We say at those times that 
we are having a good time with Mother Goose, don't we? 
What do we do when we have our good times with Mother 
Goose? Yes, play or act Mother Goose Rimes. These 
children like to recite, sing, and play Mother Goose Rimes. 

Look at the picture on page 43. It tells us one of the rimes 
that the children like to repeat. What is it? "Hark! 
Hark!" means "Listen" or "Hear! Hear! the dogs do bark." 
Do you see any beggars — (writes beggars) — that have on 
velvet gowns — (writes velvet) — or velvet dresses? Do you 
see any in rags and tags? (Writes phrase in rags and 
tags.) 

Now look at the pictures on pages 44 and 45. Who is the 
boy in the first picture? Max is posing. The children must 
be playing a rime. What is it? What do you see in the 
picture that makes you think so? Yes, the horn. (Writes 
horn.) What is that on the chair? (Writes chair.) Yes, 
the broom and chair must be the make-believe haystack. 
(Writes haystack.) Do you think the children are playing 
indoors or out? Yes, it must be indoors and I think it 
must be a rainy day. Look at the other picture. Frank is 
posing this time as Little Boy Blue. Where do you think 
the children are playing this time? Indoors or out? Why 
do you think so? What is their haystack this time? 

Step 2. — (a) Pronounce the known phonetic words : 
book, rags, tags, wake, blow; (b) Sound the new phonetic 
words: rain, Spain, our, read, Goose, hark, bark, barn, chair, 
haystack; (c) Pronounce and drill on newly developed 



LESSON PLANS AND TYPE LESSONS 133 

words which are not phonetic for the class as yet: want, 
every, who, should, picture, beggars, velvet. 

Step 3. — Read lessons silently at seats. As one aim for 
the silent study the teacher should ask the children to find 
out who is speaking each sentence on page 42, when it is 
Grace speaking and when it is Alice. 

Step If. — Read orally, emphasizing the dialogue on page 42. 

Step 5. — (a) Pronounce rapidly words at bottom of 
pages 40, 42, 43, and 44; (b) Build new words from the 
known word our: Qm our our 

sour flour scour 

(c) Syllabify words: ev er y vel vet beg gar 

sil ver y bon net gin ger 

pic ture some thing some bod y 
for tune some times a mow ing 

Put two words together to make one. 

hay stack rose buds 

hay loft rain bow 

cob web Red breast 

wood man with out 

Suggested Seat Work, Page 4-0. — Fold paper to cut out 
umbrellas both open and closed. Page 4,4. — Draw Boy 
Blue's horn. Page J/S. — Make a poster, using green paper 
for the meadow, at the bottom of a blue sheet, which repre- 
sents the sky. From white paper, cut out Boy Blue's sheep 
and paste them in the meadow. 

Section to be Read — Pages 46-51, and 63 

Step 1. — Words to be developed in sentences: Pussy, 
answer, frightened, London, buy, ever, we've, first, pie, began, 
master, fiddling, cock-a-doodle-doo. Teacher: Look at the 



134 THE HALIBURTON TEACHER'S MANUAL 

picture on page 46, and tell me which of our rimes we are 
going to read. Before you answer — (writes answer) — you 
may look at the title at the top of the page. Yes, it is the 
rime of Pussy-Cat — (writes Pussy-Cat) — and the queen. 
To what place did Pussy-Cat go? Yes, to London — (writes 
London) — and what did she do? Yes, she frightened — 
(writes frightened) — the little mouse. 

Now look at the pictures on page 48. Tell whom you see. 
Yes, Mrs. Pussy-Cat and one of her kittens. What has the 
kitten on his paws? What do we call that kind of glove? 
Yes, mittens. Mrs. Pussy-Cat has been somewhere to buy 
— (writes buy) — those mittens for the kittens who cried for 
some pie — (writes pie) . 

Now look at the picture on page 62. We sometimes give 
to a rooster as his name the word that tells us what he is 
supposed to say when he crows. What is it? Yes, Cock-a- 
doodle. You remember the rime in which Cock-a-doodle 
tells that his master — (writes master) — couldn't play his 
fiddle — (writes fiddle) — because he had lost his fiddling — 
(writes fiddling) — stick. We will read that rime, too. 

Step 2. — (a) Pronounce known phonetic words : straw, 
paw, fear, dame, while; (b) Sound new phonetic words, using 
knowledge of syllabification as well as of phonograms: 
kittens, mittens, ever, began; (c) Drill on new words: Pussy, 
answer, frightened, London, buy, pie, fiddle, fiddling. 

Step 3. — Read lessons silently at seats. To give an 
aim, the teacher should say: I wish you to read pages 46 
and 47 so carefully that you will be able to tell me whether 
it is Grace or one of the others telling how to play the 
stories. 

Step 4. — Read lessons orally. Dialogue reading is em- 
phasized on each page. 

Step 5. — (a) Pronounce rapidly the words at bottom of 
pages 46 and 49; (6) Syllabify words: 



LESSON PLANS AND TYPE LESSONS 135 



Lon don 
king dom 


Puss y 

bod y 


ev er 
nev er 


fiddle 
rid die 


spin die 
ket tie 


fid dling 
trem bling 


mit ten 
kit ten 


gar den 
gold en 


o pen 
e ven 



The Gingerbread Boy: A Study Lesson 

In The Gingerbread Boy we have another old folk tale 
of somewhat the same qualities as the story of Lambikin; 
being quite as full of action, and having even more of the 
riming repetition in which children delight. 

The Gingerbread Boy would be an ideal story for drama- 
tization were it not for the awkwardness, if not the practical 
impossibility, of having any child put into action the parts 
of the chief characters: the Gingerbread Boy while he is 
being "cut out of dough," "put into a pan to bake," "taken 
up in the little old dish," to say nothing of turning from 
gingerbread dough into a boy who must run and talk. This, 
indeed, might be managed by not having a child take the 
part of the Gingerbread Boy until he appears "jumping over 
the dish." But another still more awkward situation will 
arise when the Gingerbread Boy must be eaten, and must 
call out as he gradually disappears down the "sure enough" 
boy's throat, "I'm going! I'm half gone! I'm all gone!" 

The conversational parts of the story, however, stand out 
so distinctly from the rest of the matter that it is peculiarly 
well adapted for dramatic reading, which will be better than 
any attempt on the children's part to play the story, that is, 
to reproduce it in actual dramatization. 

Perhaps the best preparation for the children's reading of 
this story is the teacher's telling of it in its fullest form, — 



136 THE HALIBURTON TEACHER'S MANUAL 

a telling into which she may bring all the details which make 
a story entrancing to children. 

This telling should take place several days, or even weeks, 
before the time arrives for the children to read the story from 
their books. Then, as a further preparation, the teacher 
may review the story, just before the reading, by questioning 
the children. This will also provide an opportunity to de- 
velop the new and unphonetic words in the story, as woman, 
kettle, whose, love, done, half gone. The phonetic words, dish, 
wish, take, dark, and poor, should be left for the child to sound 
for himself as he comes to them in his reading. 

The questions asked might be: What is the name of our 
story? Yes, the Gingerbread Boy. (Writes Gingerbread 
Boy.) Who cut him out of the cake dough? Yes, an old 
woman. (Writes an old woman.) Besides the dish and the 
pan, what did the old woman use in her cooking? Yes, a 
kettle. (Writes kettle.) There was a "sure enough" little 
boy in the story, and he became whose — (writes whose) — 
little boy? Did they learn to love him? (Writes love.) He 
ate the Gingerbread Boy, but not all at once. Do you 
remember what the Gingerbread Boy called out as he was 
being eaten? "I'm going! I'm half gone! — (writes half 
gone) — I'm all gone!" 

I wish you to make a new word for me from an old word. 
(Writes one.) What is this? Yes; now I put a letter before 
it and what is it? Yes, done. Things began to happen 
pretty fast as soon as the gingerbread was done, didn't they? 

When the reading begins, the teacher says: W T ho can tell 
me how the Book Children learned the story of the Ginger- 
bread Boy and when it was they learned it. You may read 
the first two lines on page 52 silently and then tell me. 

Read the rest of the page to yourselves. Then I'll ask 
one of you to read it to me, so that it will sound just as it did 
when I told it to you. 



LESSON PLANS AND TYPE LESSONS 137 

I wish you to read page 53 and pick out the words that 
were spoken by the little old woman and those that were 
spoken by the little old man. Now which two of you would 
like to read, one reading what the little old woman said, 
and the other what the little old man said? 

Now read silently the next page, so that when I call on 
nine of you, each can read a sentence when I ask you to do so. 

Now read all of the next page, except the last two lines; for 
one of you may read it aloud. He must talk just as the Gin- 
gerbread Boy did. You know how he talked, for I told you. 

Now we will all read the last two lines on this page and all 
of the next, 56, except the last five lines. 

Now read the last five lines of the page and all of the next 
page except the last four lines. Then someone may read 
it aloud just as the Gingerbread Boy talked. 

Now who wishes to read the rest of this page 57? 

Read the first eight lines on the next page (58) to your- 
selves and then tell me what you saw while you read them. 

Who were walking together? Don't you think that must 
have been a funny sight? I can see them walking, two and 
two, can't you? What is meant by "Up came"? To what 
place did they come? Yes, into the dark woods. 

Now read the rest of the story to yourselves. Who spoke 
first when they saw the "sure enough" little boy in the woods 
and what was said? Yes, all spoke at once. What a funny 
sound that must have been ! How did the little old woman's 
voice sound? Who can say it as she did? Who can say 
it as the little old man said it? How do you suppose the 
kettle and the pan said it? the little old dog? the little 
old cow? Who spoke next? What did he say? Then who 
spoke? What did they all say? Why did they say, "Poor 
little boy!" What did the little boy say to them then? 
Read and then tell me what they all did. 

Do you like this story? Why do you like it? Who do 



138 THE HALIBURTON TEACHER'S MANUAL 

you think was the happiest in the story? Which do you 
think the little old woman and man would rather have had, 
the Gingerbread Boy or the real live little boy? Were you 
sorry to have the real little boy eat the Gingerbread Boy? 
Can you think of anything else that you'd rather have had 
happen to the Gingerbread Boy? 

Afterwards a second and uninterrupted reading of the 
story may be given. The children will then read it with 
ease, fluency, and enjoyment. 

The Gingerbread Boy: Suggested Dramatization 

If the work up to this time has been conducted in the 
vital way it should be, the pupils are freely taking the initia- 
tive in selecting the cast of characters and should know who 
does the talking. They should give the directions as to 
where each character should be placed and what each one 
should do and say. 

Little Old Woman {making gingerbread): I wish we 
had a little boy to eat this gingerbread. 

Little Old Man: I wish we had a little boy, too. I 
could love one very much. 

Little Old Woman: I'll cut this cake to look like a 
little boy. {Does this.) I'll put the cake in the little old 
pan to bake and when it is done I'll take it up in the little old 
dish. ... It is done now; I'll put it in the little old dish. 
{Gingerbread Boy runs aivay. Kettle, pan, woman, and man 
run after him.) 

Gingerbread Boy {runs by Dan) : I've run away from 
the little old kettle and the little old pan, the little old woman 
and the little old man. I can run away from you too-oo! 
I can and I can. {Dog runs after him. Gingerbread Boy 
runs by Fan and repeats what he said to Dan, adding the dog 
to those he has run away from. Cow runs after him.) 



LESSON PLANS AND TYPE LESSONS 139 

Gingerbread Boy {comes to dark wood and sees boy cry- 
ing; repeats his speech to boy, adding) : And I will run away 
from you, too, and I will if you don't eat me as quick as you 
can. {Boy eats Gingerbread Boy.) 

Gingerbread Boy: I'm going. I'm half gone. I'm all 
gone! 

All the Others {coming up, out of breath) : Have you 
seen the Gingerbread Boy? 

Little Boy: Yes, he told me to eat him. 

All : Come along with us and be our little boy. 

Little Boy: I should like that. They all go back to live 
in the house in the woods.) 



The Pig with the Curly Tail: A Study Lesson 

This story is largely repetitional and consists almost 
entirely of conversation. All the expressions are so true to 
a child's way of thinking and talking that the entire story 
can be easily read and then reproduced in a most natural 
way. The teacher's real work lies in the preparatory talk, 
which may run somewhat as follows: 

How many of you have ever seen a pig in his pen? Of 
what do people generally build — (writes build) — pens? 
Yes, people generally put pigs in a rail — (writes rail) — pen; 
that is, a pen made of rails. How many know what rails 
are? Should you like to live in a rail pen? Why not? 
Would it be comfortable when it rains or snows? Most 
people put boards or planks over part of the pen for piggie. 
But that wouldn't be enough for you. Why? Yes, it 
would most likely leak — (writes leak) — pretty badly. 
Well, most of you have seen a pig. 

How many have seen a rabbit? What kind of teeth have 
rabbits? What can they do with their sharp teeth? (Writes 
sharp teeth.) 



140 THE HALIBURTON TEACHER'S MANUAL 

Has a pig or a rabbit a mouth like a duck? What kind 
of mouth has a duck? Did you ever see a duck getting its 
food from the muddy water? Did you ever see ducks run 
their bills down into the soft wet mud? Did you notice the 
two broad flat parts of the duck's bill? They look as if they 
could carry things very easily, don't they? What kind of 
noise does the duck make? 

What kind of noise does a rooster — (writes rooster) — 
make? When does a rooster crow? Did you ever hear one 
crowing early in the morning? (Writes morning.) He 
seems to be trying to wake the whole world — (writes world), 
doesn't he? What good does his crowing do? 

Don't you suppose that carpenters and workmen who 
have to begin work early in the morning are glad to have the 
rooster crow and wake them? What do carpenters do? 
What do they need, to build houses? Where do they get 
lumber? Where does lumber come from? Do you know 
how chimneys and brick walls are made? What is needed 
besides bricks? Did you ever see any plaster? (Writes 
plaster.) How do people make it? Did you ever see men 
carrying plaster as they help build a house? How did they 
carry it? (Writes carry.) 

The story falls into short distinct parts which the teacher 
should name in the recitation, thus aiding the children to 
read thought units, and describe the parts on the board: 

1. The pig's pen: why he didn't like it and what he said. 

2. The pig's meeting with the rabbit and what was said. 

3. The pig's meeting with the duck and what was said. 
1±. The pig's meeting with the rooster and what was said. 
5. The new home. 

The teacher may begin the lesson thus: Here is the story 
of a pig who lived in a pen. 

Read the first part, which tells why he didn't like his home 
and what he was going to do. (7 lines.) Now tell me. 



LESSON PLANS AND TYPE LESSONS 141 

Read the part that tells whom he met first on his way to 
the woods and what they said to each other. (17 lines.) 
Then someone may tell me. 

Read the part that tells whom the pig met next and what 
was said. Now someone may tell me. 

Read the part that tells whom he met next and what was 
said. (18 lines.) Then someone may tell me. 

Read the rest of the story and then tell me what they all 
did and what they soon had. 

A second reading, in which only "the talking parts" are 
read aloud, will lead to independent dramatization. Indeed, 
there could not be a better story than this for such training. 
The dramatization will be so easy and so simple that it may 
be turned over almost entirely to the children. 

The teacher may find it well to start them off with a few 
questions, as: How many people are needed to play this 
story? Which four of your class will you select? 

Very well, then; they would better read their parts over 
so that they can "talk straight along" when they begin to 
play. The rest of us can look on our books while they are 
playing the story, and see if they are talking pretty nearly 
as our books read. 

E. Fourth Story Group: "At Sunset," Pages 64-70 

The Rainbow, A Beautiful Bridge: A Study Lesson 

Preparatory Talk. — How many have seen a rainbow? 
At what time of the day did you see it? Was it raining hard 
when you saw the rainbow? Was the sun shining? Yes, I 
dare say you noticed that it was raining a little and the sun 
was shining at the same time. Sometimes there are clouds 
in the sky when you see a rainbow, but the sun shines 
through them. The bright rays from the sun meet the rain- 



142 THE HALIBURTON TEACHER'S MANUAL 

drops as they fall; that is, they shine on the drops of falling 
rain, and it is then that the sun and the rain together make 
the rainbow. What colors show in the rainbow? Look at 
the next rainbow you see, and you will find six colors: red, 
orange, yellow, green, blue, and violet. 

Of what shape is the rainbow? Does it show in a straight 
line across the sky? No, if you ever see a perfect rainbow, 
you will see that it has the shape of a bow, the kind of bow 
with which we shoot arrows. 

There are several beautiful stories told about the rainbow. 
The Indians used to think that all the red, yellow, blue, 
violet, and orange colored flowers with their green leaves 
died down here on the earth and then their souls or spirits 
flew to heaven in the sky above, and stayed there together, 
making the rainbow. Wasn't that a pretty thought? 

Then there were some people living long ago called the 
Greeks who had another pretty story about the rainbow. 
They thought the sun was a great king or god who lived up 
in the sky. His wife was a beautiful queen who lived on 
top of one of the high mountains of the earth. This king 
and queen had a beautiful daughter named Iris. Iris always 
wore beautiful robes of red, orange, yellow, blue, green, and 
violet. Her father and mother made the robes and other 
beautiful things for Iris from the clouds. Iris used to bring 
messages from the sky or heavens down to the people on 
earth. Her father and mother built her a beautiful curved 
bridge which could be dropped down from the sky so that 
the ends of the bridge rested upon the earth. Down this 
bridge Iris could glide, bringing her messages to the people 
on earth. She could then glide up it and return to the sky 
and lift the bridge back out of the earth people's sight. 

It was said that Iris once hid a pot of gold on the earth 
at the foot of the bridge. When I was a child I used to wish 
to run to the foot of the rainbow and find the pot of gold. 



LESSON PLANS AND TYPE LESSONS 143 

You are going to read the story of Iris and her bridge. 

Another story of the rainbow is found in the Bible. 
Shouldn't you like to hear it? I will tell it to you soon. 

I will show you a glass prism. If we let the sun's rays 
shine through it at the wall, we shall see all the colors of the 
rainbow on the wall. 

The teacher will see and grasp her opportunity to develop 
the following new words in her preparatory talk: rainbow, 
bridge, daughter, Iris, above, mountains, colors, and shouldn't. 
The phonetic words clouds, lift, and foot should be left for 
the children to master for themselves, when they come to 
them in the reading lesson. 

The Bible story and the exercise with the glass prism may 
be given before the preparatory talk or after the reading 
lesson, as the teacher prefers. 

Section to be Read — Pages 67-70 

Step 1. — Words to be developed in sentences: wonder, 
great, bonny, silver, afloat, rosy. Teacher: Our lessons to-day 
are all rimes and riddles. (Writes riddles.) Do you remem- 
ber a riddle we learned and asked each other while we were 
reading in the Primer — a riddle about some white sheep, a 
bright horn, and a blue meadow? We had to find our answer 
in the sky. There was another riddle about a bonny silver 
boat — (writes bonny silver) — which means a pretty silver 
boat and it was afloat — (writes afloat) — on a rosy — (writes 
rosy) — sea. Do you remember what we found the rosy 
sea and the boat to be? Yes, the sky and the moon. Have 
you ever seen the moon when it reminded you of a boat? 
Was it the big full moon? Go to the board and show me how 
it looks when we call it a bonny silver boat. That is the 
way it looks when we call it a bright horn or a silvery bow. 

Look at the picture on page 70. Do you see a bonny 



144 THE HALIBURTON TEACHER'S MANUAL 

boat? Now look back at the picture on page 69. At what 
are the children looking? Have you any idea what they 
are saying? I think they are looking at a little star, and 
perhaps, as they look at it, they wonder — (writes wonder) — 
how such a little star can be as large as the great — (writes 
great) — sun, as they have been told is true of some of the 
stars. I think, too, that they are saying one or both of the 
rimes that you have learned to say when you see the first 
star begin to twinkle — (writes twinkle) — in the evening. 
We are now to read both the riddles and the rimes. 

Step 2. — (a) Pronounce the known phonetic words : 
moon, more, light, dew; (b) Sound the new phonetic words: 
boat, afloat, sea, silver, bonny; (c) Drill on the words : wonder, 
great, twinkle. 

Step 3. — Read lessons silently at seats. 

Step 4- — Read lessons orally in class. 

Step 5. — Pronounce rapidly words at bottom of pages 67, 
68, and 70. Syllabify words as follows: 



twin kle 


twin kling 


ro sy 


ba by 


tin kle 


trem bling 


sto ry 


lady 


fiddle 


fid dling 


tiny 


Mary 


turn ble 


turn bling 







F. Fifth Story Group: "In the Fall Woods," Pages 71-87 
Section to be Read — Pages 71, 85, 86 

Step 1. — Teacher: Look at the picture on page 71. 
Whom do you see? Tell what you think each is doing. Tell 
what you imagine each is saying. 

Do you see the same people in the picture on page 86? 
What are the children doing? I wish you to read these two 
pages. Then read that "Great Rime" on page 85 that tells 
about a great ax. I wish you to read the rime now, because 



LESSON PLANS AND TYPE LESSONS 145 

Mother told the children, during such a happy day in the 
fall woods, two long stories that were both about an ax. 

Step 2. — (6) Sound all the new phonetic words : leaves, 
dead, hang, splash, winter. 

Step 3. — Read lesson silently at seats. 

Step 4- — Read lesson orally in class. 

Step 5. — (a) Pronounce rapidly the words at the bottom 
of pages 71, 85, and 86. 

Suggested Seat Work, Page 86. — This page may be illus- 
trated with paper cutting. Cut out a picture that will 
show a big tall tree. Cut out the children in the different 
positions, some stooping over to pick up nuts, some in the 
act of filling their baskets. 



The Brook: A Study Lesson 

Preparatory Talk. — Have you ever watched a little brook, 
or branch, as some of you children call a stream of water? 
How did the water look, — clear and bright, or dark and 
muddy? Did the water make any noise as it ran along? 
What kind of noise? Did it sound as if the little brook were 
glad and happy, or sad and sorrowful? Did the water run 
fast or slowly? How does the water run over flat or nearly 
level land? Does it run fast or slowly? How about when 
it runs down sloping land, as down a little hill? 

Did you ever throw sticks or leaves or other things into 
the water of a stream, to see them carried off? When I was 
a child I used to make little boats of bark and watch the 
water of a fast little brook whirl them away. I dare say 
some of you have done the same thing. 

To-day we are going to read a little poem that tells what 
was said to a pretty brook by a little girl named Mary. 
Listen carefully while I read it, and then you can answer 
some questions I shall ask. 



146 THE HALIBURTON TEACHER'S MAISTUAL 

(The teacher reads aloud the four stanzas of the poem 
and then questions the children.) What did Mary say to the 
brook? Find the words she spoke and read them aloud, 
but don't read any other words in the poem. 

What did Mary mean by, "I wish you would stay"? 
What do you think she had dropped into the water of the 
brook? What kind of boat do you suppose it was? Why 
did she put those things into the water? What did she say 
she would do? Who had told her that she might run after 
the water? Why did Mary wish to run after it? Do you 
think that Mary ever found where the brook ran away? 
Read aloud the stanza that makes you think so. Now, some- 
one may read aloud the whole of this pretty poem. 

If I ask all of you to read along with me as I read it aloud, 
will you read softly and all try to keep together? Very 
well, we will try that. 

(Concert reading is not to be indulged in often, but any 
teacher who is skillful in training pupils to read poetry may 
permit concert reading of a poem occasionally, especially 
when it is a poem so simple and easy as this.) 

The Honest Woodman: A Study Lesson 

This is a Greek fable that has been simplified for children's 
reading, but no amount of simplification can change the 
fact that the central thought introduces a purely adult 
situation. However, children are often tempted to act dis- 
honestly, and even this Greek fable may be brought down to 
the child's plane of experience. 

Preparatory Talk. — In our lesson to-day, children, we 
will read about an honest woodman. (Writes honest on the 
board.) What is a woodman? What do they do? Why do 
they cut down trees? With what do they cut down trees? 
Of what are axes made? Does an ax cost much money? It 



LESSON PLANS AND TYPE LESSONS 147 

is well that they do not, since most woodmen are poor, and 
must depend upon their axes to make a living. 

Does a woodman go to work to cut down a tree with all its 
wide-spreading branches on it? What does he do before he 
begins to cut into the trunk of a tree to make it fall? Why- 
does he first cut off the wide-spreading boughs? 

What do we mean when we speak of the woodman as 
honest? (Writes honest again.) Yes, he must have been a 
man who would not steal. Can one be dishonest in any 
other way than by stealing something? How? We will 
find in our story how the woodman proved that he was 
honest. 

Read the first two sentences carefully, and then tell us 
all about the place in which the woodman was. Yes, I 
think he was in a forest where there were oak trees that 
grew near some deep water. Did you find out what the 
woodman was doing in the forest? 

Read the next sentence. Tell us what happened to the 
woodman. How do you suppose such a thing could have 
happened? How do you think the poor woodman felt? 

Find the words that the woodman spoke and read them 
aloud just as you think he said them. 

Read the rest of the page and one line on the next page; 
then one of you may tell me what was said. 

Read three sentences; then tell what the fairy did and 
what was said. Finish the page. Someone tell us what 
happened next and what was said. Read all of the next 
page. Now tell what the fairy did next and what was said. 

During this "study recitation" a child may come to some 
such word as neither, which is new and somewhat difficult for 
him. He should be encouraged to try all his "keys" upon 
this word; that is, he should ask himself, "What other word 
would make sense here?" Failing to get it thus from the 



148 THE HALIBURTON TEACHER'S MANUAL 

context, he should "sound it silently." If he cannot get 
it by either of these means, he should ask for help. 

Before the period for the oral reading of the lesson, the 
teacher should have put on the blackboard, and used for a 
quick, spirited drill, some of the phrases from the lesson, as : 
chopping the boughs down in the dark water 

at the foot of the tree my good sharp ax 

from a tall oak tree with a silver ax 

went down deeper with an ax of gold 

down deeper still or the golden ax 

into the deep water neither was the golden ax 

up out of the water a very honest man 

Such phrase drilling is a wonderful aid in securing smooth, 
expressive reading. 

The Oral Reading Lesson. — The oral reading lesson should, 
as nearly as possible, be a sight reading lesson. 

It is a good plan sometimes to call for the reading of 
thought units, following some such simple outline on the 
board as the one given below: 

1. The woodman drops his ax. (6 sentences.) 

2. Fairy comes up out of the water. (6 sentences.) 

3. Fairy brings up silver ax. (3 sentences.) 
J^. Fairy brings up golden ax. (4 sentences.) 

5. Fairy brings up the woodman 's own ax. (8 sentences.) 

6. Fairy rewards the woodman. (3 sentences.) 

The teacher says, "Read the part that tells about No. 1." 

Pupil looks at the board and reads the first six sentences. 

The words in parenthesis are not to be shown on the board. 
They are given here merely to guide the teacher, who should 
endeavor to train the child to select the words he should 
read, to read these words, and no more. A good deal of 
practice is required to get young children up to this. 

A final discussion of a story such as this may prove of 



LESSON PLANS AND TYPE LESSONS 149 

great ethical value to the child, upon whose mind the central 
teaching of the lesson should be impressed. 

Teacher: Which of the axes should you like most to own? 
Why the golden one? Which would you prefer next to the 
golden ax? Why? Where do you suppose the fairy left 
the silver ax while she went down into the water to get the 
golden ax? Where do you suppose she left the golden ax 
while she went down for the woodman's old ax? What 
might some men have done when they were left alone with a 
silver ax and a golden ax? Do you suppose the woodman 
knew that the fairy would give him the silver ax and the 
gold ax? You are quite right about it. I don't suppose he 
ever dreamed that she would give them to him. 

Do you think he was wise to refuse to claim the silver ax 
and the golden ax? Didn't the fairy act as if she thought the 
silver ax and the gold ax were the woodman's property? Do 
you suppose he wanted the silver ax and the gold ax very 
much? Was he right to tell the fairy that they were not his? 
Why? Suppose the woodman had said, "Yes, this silver ax 
is mine," what do you think the fairy would have done? 

Did the woodman deserve all he got? Did it pay him to 
be honest? What if the fairy had not given him the silver 
ax or the gold ax? 

A Dramatic Reading Lesson. — When the thought and 
the phraseology of the lesson have been fully mastered, and 
each situation has been clearly grasped by the class, such a 
story as "The Honest Woodman" may be turned into a 
dramatic reading lesson, simply by having the pupils take 
the parts of the characters in the story, pick out the "talking 
parts" of the story, and read them aloud in conversational 
tones, or "talk from the book," as this may be called. 

A Dramatization. — The story may afterwards be worked 
up into an actual dramatization by the pupils with very 
little help from the teacher. 



150 THE HALIBURTON TEACHER'S MANUAL 

After reading this story as the dramatic reading lesson, as 
described above, the children may wish to read the lesson 
again and act it; that is, read it at sight and act it at the 
same time. Or they may wish to memorize the parts and 
give the story as a play before an audience. 

Such an exercise may be developed in the following way: 
The teacher asks questions, children answer, and the teacher 
then writes on the board just enough to guide the pupils. 

"How many pupils must we have to play this story, and 
what characters are they to represent; that is, who must 
they 'make believe' they are? Yes, two pupils. They 
must represent the characters of the woodman and the fairy." 

The teacher writes on the board: 

Characters: 
The Woodman The Fairy 

" What place must we make believe the schoolroom is ? Yes, 
a forest. What must we make believe we see in the forest? 
Yes, some oak trees, and some deep water near them." 

The teacher writes on the board: 

Place: 
A forest of oaks with a deep stream in it. 

"Where must we make believe we see the woodman stand- 
ing? What has he? What is he doing? What happens? 
Yes, the woodman is standing by the stream. He has an 
ax. He is cutting down a tree. His ax falls into the water. 
While I write this, the class must select two pupils to be 
the woodman and the fairy. You must decide which part of 
the schoolroom you will make believe is the forest, and what 
you can use for the tree. What else do you need to play 
this story? Yes, three axes. Well, you must decide upon 
something that will represent the axes." 

The teacher writes on the board: 



LESSON PLANS AND TYPE LESSONS 151 

The Woodman (standing by a stream, cutting into a tree with 
an ax. He drops kis ax into the stream.) 

She leaves space enough for the first two or three words 
spoken by the woodman. 

The children who are to act take their places. They, as 
well as the others of the class, have their books open. 

The teacher says: "Show me how you are going to make 
believe you are cutting down a tree. Very good. Show 
us how you are going to drop your ax. That is very good." 
Then to the other pupil who is to act: "Show me how you 
are going to rise from and go down into the water." 

If this presents a difficulty, the wise teacher will leave the 
pupils to solve it, skillfully leading them to use their eyes 
and their own judgment. Perhaps one more quick-witted 
than the others will suggest some such plan as having the 
pupil rise from behind a desk or chair and stoop behind it 
again to represent the fairy rising and sinking in the water. 

When such matters are settled, the teacher continues the 
outline begun on the board. 

"Find in your books what the woodman said when he 
dropped his ax. Tell me, so that I can write the first two 
or three words of it as * key words ' in the right place. You 
may read them, or talk them from your book." 

The plan worked out will show on the board in some such 

way as follows: ~ 7 

Characters: 

The Woodman The Fairy 

Place: Forest with deep stream 

Woodman (standing by a stream, cutting into a tree with an 

ax, drops ax into the water) : Oh, what shall, etc., 

Fairy (rising out of the water) : Why do you, etc. 

Woodman: My ax fell, etc. 

Fairy: I will get, etc. (Sinks into the stream, rises again 

with an ax, holds out ax to Woodman.) Here is your, etc. 



152 THE HALIBURTON TEACHER'S MANUAL 

Woodman: That is not, etc. 

Fairy (sinks into stream, rises again with another ax, holds 
out ax to Woodman) : Is this, etc. 

Woodman: No, oh, no. 

(Fairy sinks into stream again, rises with another ax, holds 
out ax to the Woodman. The Woodman takes ax.) 

Woodman: Oh, thank you, etc. 

Fairy: Why would you not, etc. 

Woodman: The silver ax, etc. 

Fairy: You are a very, etc. (Gives Woodman the silver ax 
and the gold ax, then sinks into stream. Woodman runs off 
joyfully with the three axes.) 

The Three Brothers: A Study Lesson 

This story covers eight pages of the First Reader, — too 
much to be read at one recitation, since eight pages, even of 
this large print, means a long story. 

The treatment of the long story for the First Grade differs 
somewhat from that of the shorter stories. 

There must be a carefully planned division of the story 
into its main parts, which will lead naturally to a lively dis- 
cussion of the characters, of the main events, their sequence 
and the results, so that the children may get the larger 
thought groups. These discussions may come before the 
reading of the lesson, during the reading, and after the read- 
ing. It is perhaps safer, however, for the young or less 
experienced teacher to confine these discussions mostly to 
the period before and after the reading. 

The new words of the lesson should be first heard and seen 
as far as possible in their context. When they can be intro- 
duced naturally in the phrases of the preliminary talk pre- 
paratory to the reading, they should be so introduced. 

In this story there are twenty-four new words, many of 



LESSON PLANS AND TYPE LESSONS 153 

them so phonetically regular that the child will master them 
without trouble when he comes to them in his reading. His 
growing power to get words for himself will be reinforced 
by his interest in the story context, his desire to find out what 
happens next, and the realization of his need to know the 
words in order to find out what he wants to know regarding 
the story incidents. 

The ethical teaching of this story is that it pays to think 
about what one sees and hears; that it is well to try to find 
out things for oneself. Of course, the teacher will let these 
truths teach themselves as the story progresses. 

A few questions may be asked after the story is finished in 
order to fix more firmly in the minds of the pupils the ethical 
truths taught in the story, but this quiz must never degen- 
erate into a preachy talk for the sake of pointing a moral. 

The definitely planned division of the story to be kept in 
mind by the teacher, and followed in developing the lesson, 
may be as follows: T 

1. The castle and the tree. (7 lines.) 

2. The king's trouble. (8 lines.) 

3. The kings offer. (9 lines.) 

II 

1. The three brothers. (3 lines.) 

2. What happened as they were going through a forest? 

3. What happened as they were passing by a mountain? 
If. What happened as they were passing along by a stream? 

(21 lines, 22 lines, 25 lines, respectively.) 

Ill 

1 . The brothers reach the castle. 

What they heard at the castle. (5 lines.) 

2. The oldest and second brothers' trial. (9 lines.) 

3. The youngest brother's trial, (page 84.) 



154 THE HALIBURTON TEACHER'S MANUAL 

Preparatory Talk. — How many can tell me what a castle 
is? We are going to read in this story about a beautiful 
castle. (Writes a beautiful castle.) We are going to read, 
also, about a tree that was very old and very large. It was 
more than a hundred years old. (Writes more than a hundred 
years.) It had more than a hundred boughs. (Writes more 
than a hundred boughs.) The story doesn't tell us what kind 
of tree it was. I think that it was perhaps a walnut tree. 
(Writes walnut tree.) It grew near the castle. (Writes 
grew near the castle.) It stood just before the door of the 
castle. (Writes before the door.) 

The Study Lesson. — "I wish you to read to yourselves; 
then I wish one of you to tell me about the castle and the 
tree. Another may tell me about the king's trouble, and 
someone else may tell me about the king's offer." 

After the children have given in their own words the sub- 
stance of what they have read, the teacher may discuss with 
them the portion they have read. 

"What is a king's kingdom? Does the half of a kingdom 
mean very much? Who do you suppose heard the king as 
he stood crying these words aloud? Do you suppose many 
tried to cut down the tree and dig the well? Why do you 
suppose both were such hard things to do? 

"Now read again to yourselves. Then someone may tell 
me about the three brothers." (Writes three brothers.) 
"Someone may tell me what happened as they were going 
through a forest." (Writes going through a forest.) "Then 
someone may tell me what happened as they were passing a 
mountain." (Writes passing a mountain.) "And someone 
else may tell me what happened as they were passing along 
by a stream." (Writes along by a stream.) 

Except the first, each of these is a long division. If she 
prefers, the teacher may discuss each division after it has 
been reproduced by some child in his own words. 



LESSON PLANS AND TYPE LESSONS 155 

The discussion of the four parts of the second division may 
be approached somewhat as follows: 

Teacher: Do you suppose the three brothers had been 
present when the king made his offer, and heard him as he 
spoke, or does it mean that they heard about the king's 
offer? Why do you think so? Read the line that makes 
you think they were at some distance from the king's castle. 
What does set out mean? 

If you should hear a chopping noise, shouldn't you know 
what it was? Why did the youngest brother wonder about 
it? (Writes youngest brother.) But you must remember 
where they were — away off in a forest. Do many people 
live in a forest that is far away from towns and cities? What 
kind of boy or man do you think the youngest brother was? 
Should you have left your brothers and gone away off into 
a forest by yourself? (Writes by yourself.) How do 
you suppose he felt when he saw an ax chopping down a 
tree without anyone holding it? Should you like to have 
such an ax? Why? How did the youngest brother speak 
to the ax? What kind of boy or man does that show him 
to have been? (Polite.) Did the others get far ahead of 
him? Why do you think so? What kind of boy does that 
show he was? (Quick, full of energy, etc.) 

Did you ever see a pick? How does it differ from a hoe? 
Which is the best for digging deep holes or wells? 

Have you ever watched a stream of water flowing past 
you? Did you ever think of the fact that it had to start 
somewhere? Did you ever wonder where it came from? 
How many of you ever followed a stream, going up its 
banks toward the place where it started? 

How many have seen a walnut? If you should see a wal- 
nut from which a stream of water kept running, shouldn't 
you think it a strange walnut? 

If you should hear that more than a hundred men had 



156 THE HALIBURTON TEACHER'S MANUAL 

tried to do some one thing and that all of them had failed, 
should you care to try? 

After the oldest brother tried and failed — (writes oldest 
brother tried) — and the second brother tried and failed — 
(writes second brother tried) — should you have thought the 
youngest brother would care to try? 

What made him feel sure he could win half the kingdom 
offered by the king? What did the work for him? Yes, 
but who had done the thinking that got these tools for him? 
What was the difference between him and his brothers? 
Does it pay to find out all you can? Does finding out about 
things help you to do things? 

The Oral Reading Lesson. — With the outline of the divi- 
sions on the board, the teacher may say, as she points to 
them: "Read the part that tells about the castle and the tree. 
Read the part that tells about the king's trouble," etc. 

Good-by to the Birds: A Poem Lesson 

This little poem is so easy to read that the children will 
enjoy it for that reason if for no other. But the jingle and 
rime of the lines has also a charm for children. 

The thoughts of the previous lesson are those of the fall 
time; the fading and falling of the leaves, the ripening of 
the nuts, the departure of the birds, etc. 

This little poem gives one of these thoughts fancifully 
expressed. It is easily linked with the previous lesson by 
means of a very few questions from the teacher. 

"Do you not feel sorry to have the birds leave us? to 
have to tell them good-by until the spring comes again? 
How do you suppose the little birds feel as they go flying so 
swiftly and easily across the beautiful blue sky? Who is 
telling the birds good-by? Where do you think the children 
are, when they watch the birds and call good-by to them? 



LESSON PLANS AND TYPE LESSONS 157 

Do you ever feel as you watch the birds that you'd like to 
fly, too, — to go with them to the countries far away?" 

One reading of the lines by the teacher will, in most cases, 
be sufficient. Almost without effort, the children will memo- 
rize the poem. The teacher may recite two lines: 
" Good-by , little birdies, 

Fly through the sky — " 
and then wait for the class to complete the stanza, which 
they will do easily, the word shy suggesting the lines that 
end with the riming word by: 

"Singing and singing, 
A merry good-by." 

In this way the teacher may gradually develop a keen 
appreciation of melody and rhythm. She may also lay 
the foundation of a high type of language lesson, in which 
originality and inventiveness as well as thought on the child's 
part will have some play. The work with the phonic jingles 
in the Primer was the first step in this double development. 

After the children have had such lessons as this one on 
"Good-by to the Birds," the teacher can continue it. She 
gives a line, of which the children must complete the thought 
with a riming line; as, 

Teacher: The stars are bright — 

Pupil: They shine at night. 

Teacher: I like to run and play — 

Pupil: On a lovely summer day. 

G. Sixth Story Group: "Winter Days and Nights," pages 
88-115 

Section to be Read — Pages 88, 89, 92, and 93 

Step 1 . — Words to be developed in sentences : feathers, 
sleigh, pleasanter. Teacher: Compare the picture on page 
88 with the one on page 86. Tell me all the differences you 



158 THE HALIBURTON TEACHER'S MANUAL 

see. Do both pictures show the same time of the year? 
Tell me the difference. What is the heading of the lesson 
just under the picture? Yes, "Winter Fun," — and that is 
what these children are having. Is it raining in this picture? 
Can you see the flakes of snow falling like little feathers — 
(writes feathers) — as they come thicker and thicker and 
faster and faster? The children have fun in the day time 
playing in the snow, coasting down the hills, skating on the 
ponds and going for sleigh — (writes sleigh) — rides. But 
they think the winter nights are even pleasanter — (writes 
pleasanter) — than the winter days. 

Turn to the picture on page 90. You see the same chil- 
dren that you saw out in the snow. Where are they now? 
Do you think they are having fun here? Is it day or night? 
Why do you think so? Oh, yes, you can see the moon 
through the window. Such a slender little moon! It is 
not like the full moon of the summer night, when it looked 
down at the baby larks and lambs with their mothers, in the 
meadows, "all asleep." It is not exactly like the pale 
slender moon of the afternoon when it shone like a horn so 
bright, among the white cloud sheep, in the blue meadow 
of the sky. It is more like the bonny silver boat that was 
afloat on the rosy sea of the sunset; but it is now most like 
a silvery bow, that hangs low in the sky on the winter nights. 
You remember the song, called "A Winter Night," that 
you learned, which told what the moon sees down on the 
earth on a winter night: the white snow on the ground, 
the dark waters that flow so silently and slowly because of 
the ice; the icicles that grow larger as they hang from the 
trees and the roof of the house, and the cozy room where 
the flames of the fire blaze and glow and throw queer shadows 
of the "five sprites that sit in a row" before the fire. 

Well, here are the "five sprites." They are singing songs, 
saying rimes, and telling long interesting stories. You will 



LESSON PLANS AND TYPE LESSONS 159 

read some of the stories that they are telling. You know 
how to play a game that they called "matching rimes." 
You know, too, the short sayings they repeat, "As green as 
grass," etc. You have played the same game here in the 
schoolroom. Read the song on page 91 with the lesson. 

Step 2. — (a) Sound the new phonetic words : flakes, 
thick, thicker, roast, toast, short, glass, tar, ice; (b) Drill on 
newly developed words: feathers, sleigh, pleasanter. 

Step 3. — Read lessons silently at seats. 

Step Jp. — Read lessons orally in class. Let different 
pupils take the parts of Frank, Grace, Alice, and Max, and 
read as if they were playing the game of matching rimes. 

Step 5. — (a) Pronounce rapidly the words at bottom of 
pages 88 and 89, the words at the right of page 91, and also 
the words on page 93 that are given in pairs; (b) Syllabify: 



feath er 


win ter 


got ten 


feath er y 


win ter y 


for got ten 


sil ver 


gath er 


fright en 


sil ver y 


gath er ing 


fright en ing 


Suggested Seat Work, Page 88. — 


Draw a funny picture of 



a snow man. Page 89. — Draw a picture that shows boys 
and girls sliding downhill on their sleds. Gray drawing paper 
will be best for this. Use white blackboard chalk for the 
snow. The little boys and girls will likely wear red or blue 
sweaters and red, blue, or green toboggan caps. Page 90. — 
Make a poster which will represent a night scene, using black 
paper for the ground, on gray paper which represents the 
night sky. Cut out the crescent moon of yellow paper and 
paste it on the sky. 

A Teeny Tiny Story: A Study Lesson 

The source of keen enjoyment for the child in this story 
is the quality of suspense and the surprise in the climax. 



160 THE HALIBURTON TEACHER'S MANUAL 

The lesson requires no preparatory work at all. The 
child's first introduction to the story should be through the 
teacher's reading it to the class with no word or hint as to 
what they are to expect. If the teacher reads with an air 
of expectancy she will hold the intense interest of the class 
as they follow the "Teeny Tiny Lady" with bated breath in 
her quest for that "teeny tiny noise." It is worth a great 
deal to arouse surprise and enjoyment which is shown when 
the climax is reached and the teeny tiny lady found nothing 
but — a mouse! The teeny tiny lady's absurd fright as she 
cries, "A mouse! A mouse!" and flies up her teeny tiny 
stair can be shown in the teacher's reading. No comment 
is necessary from the teacher. But one can easily see how 
such a story may be spoiled in the handling. 

The lesson assignment might be: "Read this story to 
your father and mother so that they may enjoy it as you did 
in class. You must keep them guessing what that noise was, 
until the very end. Make them as curious to know what 
it was as you were." 

With this motive for study, the reading in class next day 
will be animated and expressive. The word groups will 
present no difficulty to the children. They are composed 
of such familiar household terms as "stole down the teeny 
tiny stair," "looked under her teeny tiny table," "there 
was nothing under the table," etc. 

Phonic Exercises. — List of words on page 95 and exercise 
groups from Phonetic Chart furnish material for drill. 

Billy Boy and His Friends: A Long Story Lesson 

Just as there was reason for the teacher's reading aloud 
the last story to prepare for the reading recitation, so there 
is reason for her telling this story as a preparation for the 
reading by the class. The teacher should supply fuller de- 



LESSON PLANS AND TYPE LESSONS 161 

tails, in the telling of the story, than it is possible to give 
in the child's Reader. She should tell the story with the 
gestures and facial expression which are essential to the 
success of her chief aim, — which is to enable the children 
to get hold of and enjoy every bit of the humor in which 
this story abounds. 

This story also appeals to the child's sympathy for animals, 
but this is a secondary consideration just here; for that 
sympathy is emphasized in many stories for children, while 
true humor is all too rarely found. All the new words are 
phonetic and easily mastered by the child without any drill, 
— unless it be the words fortune, donkey, and friends. 

These may be given first in the few sentences with which 
the teacher introduces the story, as: 

"I will tell you the story of a little lad called Billy Boy 
who was very poor, who had no home, parents, brothers, 
sisters or friends — (writes friends) — who once started out 
all alone to seek his fortune — (writes fortune) — and who 
was helped by a donkey — (writes donkey) — and some other 
animals who became his friends." 

In the telling and afterwards in the reading recitation and, 
still later, in the dramatization, the outline below should be 
kept in mind and followed by the teacher. 

/. Billy Boy seeks his Fortune 

1. Billy sets out alone. 

2. Billy meets a donkey and takes him along as his friend. 

3. Billy meets a dog and takes him along as his friend. 

4. Billy meets a cat and takes her along as his friend. 

5. Billy meets a rooster and takes him along as his friend. 

II. Billy Boy finds his Fortune 

1. The friends see a light in a house. 

2. Billy plans a way to see into the house. 



162 THE HALIBURTON TEACHER'S MANUAL 

3. The friends frighten aivay the robbers. 

J±. The friends find places in which to sleep. 

5. One of the robbers returns to the house. 

6. The friends frighten the robber away. 

7. The robber tells the others of his fright. 

8. Billy keeps the fortune he found. 

A motive for the reading of this story may be given by 
teacher say ing : "Why do you like this story? Do you think 
your father and mother or your little sister and brother like 
funny stories as well as you do? Shouldn't you like them to 
have a good laugh over this story? Very well, suppose you 
read this story so carefully that you can read it aloud at 
home and make it just as funny in your reading as I made it 
in the telling. Then, too, I think you will enjoy playing 
the story when you can read it well." 

If the entire story is found to be too long for one reading 
recitation, as it probably will be, it may be divided into as 
many sections as is necessary, the divisions following the 
outline given above. A suggestive dramatization is given 
below for the teacher who may desire to use it. 

To help the child find the slight vein of ethical truth that 
runs through the story, a few concluding questions might 
be asked, such as: "What kind of boy was Billy? Why do 
you think he was kind? Which of his friends helped Billy 
most? What was the cleverest thing that Billy did? What 
could Billy do that his friends could not do?" (Think and 
plan.) "Was it right to take the house from the robbers? 
How had they got it? What do robbers do to other people 
who may happen to live near them?" 



LESSON PLANS AND TYPE LESSONS 163 



Billy Boy and His Friends: A Dramatization 

[Note. — This is a suggested dramatization, the primitiveness of 
which, as a story, appeals strongly to young children, especially to boys, 
who should take all the parts unless, perhaps, it be that of the cat.^ 

Scene I: Billy Boy Seeks His Fortune. — Billy Boy : I 
am only a poor lad. Everyone calls me Billy Boy, but I have 
no home. So I'm going out to find my fortune. (Walks 
along until he comes to a donkey with his head hanging down.) 

Donkey: Wee-haw! Wee-haw! Wee-haw! 

Billy Boy: What's the matter, old Wee-haw? Why do 
you hang your head? 

Donkey: I'll tell you what's the matter. My master 
gives me nothing to eat but old wheat straw. He says I'm 
too old to work. 

Billy Boy: Come with me, old Wee-haw. You may 
help me work for my fortune. You shall have sweet hay 
and not old straw. {Billy Boy and the donkey walk on till 
they come to a dog sitting still, with his head hanging down.) 

Dog: Bow-wow! Bow-wow! 

Billy Boy: What's the matter, old Bow-wow? Why do 
you hang your head? 

Dog: My master says I'm too old to watch and bark at 
night. So he never gives me meat to eat. 

Billy Boy: Come with me, old Bow-wow. Help watch 
for my fortune and you shall eat meat every day. {Billy 
Boy, the donkey, and the dog walk on till they come to a cat 
sitting still, with her head hanging down.) 

Cat: Mee-ow! Mee-ow! 

Billy Boy: What's the matter, old Mee-ow mee-ow? 
Why do you hang your head? 

Cat: My master knows that my teeth are old. Yet he 
gives me nothing to eat. While my teeth are not sharp now, 



164 THE HALIBURTON TEACHER'S MANUAL 

my claws are as sharp as ever. Still it takes me a long time 
to catch a mouse. I should have meat to eat. 

Billy Boy: Come with me, old Mee-ow mee-ow. You 
may help catch my fortune. Then your claws and jaws 
will do all you want them to do. (Billy Boy, the donkey, 
the dog, and the cat walk on till they see a rooster sitting up in a 
tree crowing.) 

Rooster : Cock-a-doodle-doo ! 

Billy Boy: What's the matter, old Cock-a-doodle? Why 
are you singing in the top of that tree at this time of the day? 

Rooster: My master says I am to go into the pot. I'm 
to boil, boil, boil, then roast and toast, till I'm done. 

Billy Boy: Come with me, old Cock-a-doodle. You 
may help me sing for my fortune. Then no one shall boil 
you. (Billy Boy, the donkey, the dog, the cat, and the rooster 
walk on till they come to a forest.) Let us rest, now. To- 
morrow we will march into the forest. (Billy Boy, the 
donkey, the dog, and the cat lie down at the foot of a tree; the 
rooster flies up into the tree. They all fall asleep.) 

Scene II: Billy Boy Finds his Fortune. — Rooster : 
Cock-a-doodle-doo! I see a light, friends. 

Billy Boy: Is it the light of the moon? 

Rooster: No, it is not. 

Billy Boy: If it is not the moon, let us go and see what 
it is. (The friends walk off into the forest till they come to a 
little house. They all stop.) 

Billy Boy (trying to look in at a high window): I can't 
see into the house. Cock-a-doodle, you fly up on Wee-haw's 
back and tell me what you see. 

Rooster (getting on Wee-haw's back and looking in at the 
ivindow) : I see some men sitting around a table. They 
have gold in a heap on the table. 

Billy Boy (in a low tone): The men in the house are 



LESSON PLANS AND TYPE LESSONS 165 

robbers. I think we can drive them away. When I say, 
"Three," make all the noise you can. One, two, three! 

The Friends (all at once) : 

Wee-haw! Wee-haw! Wee-haw! 
Bow-wow ! Bow-wow ! Bow-wow ! 
Mee-ow ! Mee-ow ! Mee-ow ! 
Cock-a-doodle-doo ! 
(Robbers run from the house and out of sight. The friends enter 
the house.) 

Billy Boy: Here is a bed. I'll get in it and go to sleep. 
(Lies down and goes to sleep.) 

Cat: Here is a chair by the fire. I'll jump up in it and 
go to sleep. (Jumps into chair and goes to sleep.) 

Dog: Here's a table. I'll get under it and go to sleep. 
(Lies down under table and goes to sleep.) 

Donkey: Here's some straw by the barn. I'll lie down on 
it and go to sleep. (Lies down and goes to sleep.) 

Rooster: Here's a tree. I'll fly up into it and go to 
sleep. (Flies up and goes to sleep. A robber comes stealing 
back from the woods, goes into the house; in the dark runs 
against the cat in the chair, she jumps up and scratches his eyes.) 

Robber : Ouch ! (Runs against the table, dog jumps out and 
bites him.) Ouch! Ouch! (Runs out by the barn, donkey 
jumps up and kicks robber down.) Ouch! Ouch! Ouch! 
(Jumps up to run.) 

Rooster (from the tree) : Cock-a-doodle-doo ! 

Robber: Oh, he'll get me! (Runs out of sight into woods; 
the friends go to sleep again. The first robber and another 
come out of the woods.) 

First Robber (pointing to the house): I shall never go 
back to that house. There's an old woman there, who 
tried to scratch my eyes out. There's a man there with a 
sharp knife. He cut me as I ran by him. There's another 
man with a big stick who knocked me down. As I got up 



166 THE HALIBURTON TEACHER'S MANUAL 

to run a little man hiding somewhere cried, "I'll knock the 
noodle, too!" but I'll never be such a noodle as to go back 
there. (The two robbers run off into the woods.) 

Rooster: (flapping wings and crowing): Cock-a-doodle- 
doo! (The friends wake up and stand around Billy Boy.) 

Billy Boy: The robbers will never come back here. So 
we can stay here. We shall be safe and happy here as long 
as we live. 

The Friends (holding their heads very high) : 
Wee-haw! Wee-haw! Wee-haw! 
Bow-wow ! Bow-wow ! Bow- Wow ! 
Mee-ow ! Mee-ow ! Mee-ow ! 
Cock-a-doodle-doo-oo ! 

Robins Yule Song: A Folk Tale 

This is a Scotch folk tale which is always loved by chil- 
dren beginning school because of the lifelike personification 
of the animals in the story and because the great number 
of repetitions makes it so easy to read. 

This story, with the one that follows, "Robin Redbreast 
and Jenny Wren," and the rime of "Who Killed Cock 
Robin?" on account of the close thought relation between 
the three, should be treated as three parts of one whole. 

In "Robin's Yule Song" the different sections of the story 
stand out clearly, each as a distinct thought unit. As the 
story proceeds from section to section, the teacher should 
question the children; the children should read silently for 
the answer to be given in their own words, and the teacher 
writes on the board the outline which they together make 
of the story. Such an outline helps the children to keep 
clearly in mind the main points of the story at each stage; 
that is, whom wee Robin meets, where he meets them, and 
what is said in each case. 



LESSON PLANS AND TYPE LESSONS 167 

In order to arouse a proper interest in the bird characters 
of the story, the teacher holds a short introductory talk 
with the children about the birds which are mentioned in 
the story. 

Preparatory Talk. — We are to read a long story about 
birds that used to be told to the children far away across 
the ocean a long, long time ago. 

We know a good deal about the birds of which the story 
tells and love most of them, because they are such lovable 
little creatures. But there are a few birds that are not 
loved, by us, or by the other birds, either. 

For instance, the sparrow — (writes sparrow) — of which 
we see so many in towns and cities, is a noisy, quarrelsome, 
dirty, disagreeable little fellow. Sparrows are of very little 
help to us in taking care of our plants and trees, and they 
never sing sweet songs for us. They are great fighters and 
very unkind to other birds, driving off those who cheer us 
with their sweet songs and who eat the insects that are so 
destructive to our plants and trees. These quarrelsome 
sparrows are called English sparrows here, because the first 
that were ever in this country were brought from England. 
But in England they are called house sparrows. 

We have several different kinds of our own native sparrows, 
the tree sparrow, the ground sparrow, the song sparrow, etc. 
The sparrow of whom we are to read was, I feel sure, one of 
these song sparrows that we love. 

There is another kind of bird that is not loved, because he 
has such disagreeable, mean habits. It is the cuckoo. 
(Writes cuckoo.) The cuckoos do not build nests for them- 
selves. The mother cuckoo flies around to the nests of 
other birds and lays her eggs in them so that these other 
birds will hatch them and, thinking the cuckoos are their own 
baby birds, will feed and care for them. When the young 
cuckoo gets strong enough, he pushes the other baby birds 



168 THE HALIBURTON TEACHER'S MANUAL 

out of their own nests, and then he gets all the food that the 
parent birds bring for their own babies. 

After you read the story, you will see why the cuckoo is 
not liked by the other birds and you will not wonder at it. 

The hawk is another bird for whom we cannot feel any 
love. He is big and strong, and he kills other birds who are 
smaller than he. The other birds hate and fear the hawk, 
because he is so cruel. 

In this story the bird that is called Robin Redbreast — 
(writes Robin Redbreast) — is not the same bird that you 
children know as Robin Redbreast. It is the dear little 
bluebird with a reddish brown breast, a little bird that sings 
very sweetly. In England it has always been called Robin 
Redbreast. 

The little brown wren which the story tells about is the 
same little brown bird that most of you know. In the story 
she is called Jenny Wren. 

This story is one that Frank, Max, and the girls like to tell 
at Christmas — (writes Christmas) — that is, Yule time. 
(Writes Yule.) 

In our story, wee Robin takes a long journey, and he meets 
with some very dangerous creatures on the way. 

Can you think of the creatures that would be most likely 
to harm a wee robin? Yes, there are a great many creatures 
who are enemies to the bluebird. 

We will read about Robin's Journey. Read the first 
page, then someone may tell me where wee Robin was going, 
why he was going, whom he met first and what was said. 

The outline of the story, as produced by the teacher's 
questions and the pupils' answers, is put on the blackboard. 

Part I: Robin's Yule Song 

1. Robin's journey. 

2. Robin meets gray greedy Pussy-cat in the woods. 



LESSON PLANS AND TYPE LESSONS 169 

3. Robin meets gray greedy Hawk by a wall. 

4. Robin meets gray greedy Fox by a heap of rocks. 

5. Robin comes safely to the king's house. 

The teacher asks, "Who will read, and then tell me about 
Robin's journey and when it took place?" (Writes first 
of outline, 1. Robin's journey.) The children should be 
required to use their judgment in reading enough lines. 

"Someone may tell me whom Robin met, where he met 
her, and what was said." 

After the children have read silently the next four lines, 
and then told what they read, the teacher writes: 

2. Robin meets gray greedy Pussy-cat in the woods. 

This shows how the whole outline for part I is obtained. 

Part II: Robin Redbreast and Jenny Wren 

1. Robin tells his friend the Sparrow. 

2. Sparrow tells the other birds. 

3. The birds come to Robin s wedding. 
If. The Cuckoo's bad behavior. 

5. The death of Robin Redbreast. 

Part III: Who Killed Cock Robin? 

After the reading of Part I, the teacher and the children 
may discuss Robin Redbreast, bringing out in the discussion 
the leading ideas of this part, which are (1) that the little bird 
wanted to thank his king and his God with sweet songs for 
his happy Christmas, and was brave enough to undertake a 
long journey to do this, and (2) that he could not be fooled 
by the pretended friendliness toward himself on the part of 
those whom he knew to be cruel to others. Robin's clever- 
ness in seeing through the tricks of the cat, hawk, and fox, 
will be a source of wholesome enjoyment to the children. 

After all three parts of the story have been read, section 



170 THE HALIBURTON TEACHER'S MANUAL 

by section, the children will be ready to "read it so carefully" 
that they will be "able to read the whole story aloud at home 
to father and mother." Such a suggestion from the teacher 
will form a sufficiently impelling motive for careful rereading 
on the children's part. 

In reading the rime "Who Killed Cock Robin?" one child 
should read the question in each stanza and another child 
should read aloud the answer given in the same stanza. If 
it is taught as it should be, the rime will not be rattled off as 
so many jingling words. It will be read with feeling and 
even with pathos; for the children will experience a real sor- 
row for Robin's sad fate, and sympathy for the grief of the 
sighing sparrow and the sobbing bride, poor little Jenny Wren. 

Robin's Yule Song is so full of interesting dialogue that 
it readily lends itself to dramatization. The children will 
find no difficulty in naming the characters needed and in 
finding the words spoken by each character. They can 
play the story with their books open before them, reading 
only the talking parts of the story. The teacher and children 
together can arrange a play or actual dramatization, as was 
suggested in the work on "The Honest Woodman." 

Robin's Yule Song: Suggested Dramatization 

Characters: 
Robin Redbreast Greedy Fox 

Greedy Pussy-cat The King 

Greedy Hawk The Queen 

Place: In the woods. Time: Christmas Time. 

(Robin Redbreast hopping about in the woods meets Greedy 
Pussy-cat.) 

Greedy Pussy-cat: Pray, where are you, etc. 
Robin: I'm going to see, etc. 



LESSON PLANS AND TYPE LESSONS 171 

Greedy Pussy-cat: Come, here, wee Robin, etc. 
Robin: No, no, gray Greedy, etc. 
(Robin flies away; comes to a wall; meets Greedy Hawk.) 
Greedy Hawk: Pray, where are you, etc. 
Robin: I'm going to, etc. 
Greedy Hawk: Come here, wee Robin, etc. 
Robin: No, no, gray Greedy, etc. 

(Robin flies away; comes to heap of rock; sees Greedy Fox.) 
Greedy Fox: Pray, where are you, etc. 
Robin: I'm going to see, etc. 
Greedy Fox : Come here, wee Robin, etc. 
Robin: No, no, gray Greedy, etc. 

(Robin flies away; comes to the King's house; hops on the 
window and sings to the King and Queen.) 
The King: What shall we do, etc. 
The Queen: Let us give him, etc. 
(Robin flies away to find the nice Jenny Wren.) 

Section to be Read — Pages 113, lllf, and 115 

Step 1. — Words to be developed in sentences: chimney 
flue, shadow, knitting, stocking, Santa Claus, twilight, fairy, 
pleasanter. Teacher: Turn to the picture on page 115. Do 
you think this is the same room you saw in the picture on 
page 90? Yes, I think it is the same room. Whom do you 
see here that you will not see in the other picture? Here are 
the Story Children. Don't you think they have grown a 
great deal since you first met them in the Primer? Do you 
suppose the kitten that you see is Alice's Kitty Dot? No, 
Dot is a grown cat by now and that must be one of her kittens. 

I wish you to look at each person in the picture and answer 
my questions. What is Father doing? Yes, he is making 
shadow — (writes shadow) — pictures for Betty. What is 
Mother doing? Yes, Mother is knitting stockings — (writes 



172 THE HALIBURTON TEACHER'S MANUAL 

knitting stockings) — and Pussy's got the ball. What are 
Grace and Alice doing? Yes, they are trimming a little 
Christmas tree. So it must be "The Night Before Christ- 
mas," just as I thought it was. What is Max doing? Yes, 
he is looking up the wide chimney flue (writes chimney 
flue). Can you imagine for whom he is looking? Well, yes, 
I think he must be looking for old Mr. Santa Claus — (writes 
Santa Claus) ; I dare say Max thinks Santa is taking a long 
time to come. Why, I do believe this is about what Max is 
saying, "Old Mr. Santa Claus, what is keeping you?" 

It is snowing hard and the little fairy snowflakes come 
dancing into the flue only to melt in the warm air of the chim- 
ney. What is Frank doing? Yes, and what a big stick of 
wood he is going to heap on that fire! I think Father has 
just spoken to Frank in poetry, saying something he read 
the other day from one of his favorite books. 

"Heap on more wood, 
The wind is chill, 
But let it whistle 

As it will, 
We'll keep our Christmas 
Merry still." 

I don't think it is late at night. I think it is just getting 
dark, the time we call twilight — (writes twilight) — and 
I am sure there are no electric lights in the room, — nothing 
but the fire light. The fire light and twilight shadows come 
and go in that warm, cozy room. Perhaps the children 
hear out on the roads the merry chime of sleigh bells, as 
they tinkle through the snow, and they know that to-morrow 
they, too, will have a sleigh ride. No wonder they are saying 
to Father and Mother, as I think they are, "Don't you think 
that winter's pleasanter — (writes pleasanter) — than all?" 

I know you are eager to read about the good times these 



LESSON PLANS AND TYPE LESSONS 173 

children are having, but let us see first if you know the new 
words in the lessons. 

Step 2. — Sound the new phonetic words by separating 
them into syllables: shad ow, knit ting, stock ing, San ta 
Claus, chimes, twi light, chim ney flue, pleas ant er. 
Step 3. — Read the lesson silently at seats. 
Step 4. — Read the lesson orally. 
Step 5. — Drill on syllabifying words : 

fair y teen y knit ting 

snow y greed y sit ting 

wind y Puss y wed ding 

rain y Boss y hop ping 

chop ping run ning 

dig ging cun ning 

H. Seventh Story Group: "The Year's at the Spring," pages 
116-133 

Section to be Read — Pages 116, 117 

Step 1. — Teacher: What are the children doing in the 
picture on page 118? What time of the year do you think 
it is? Although they may think that "winter's pleasanter 
than all" when they are having winter fun, I dare say they 
are glad when spring comes again, — as glad as the little 
flower is at the morning sunshine when it lifts up its head; 
as glad as the tiny seed is after having been asleep, deep down 
in the ground where the frost and snow could not touch or 
hurt it, but where it was dark and sunless. 

There are stories that suit the springtime which you will 
like and read soon. One is a story that has been told and 
loved for hundreds of years by the people who live in a far- 
away and very cold country where the winters are long and 
dreary, and everyone is filled with rejoicing when the spring 
sunshine comes and wakes the cold sleeping earth into joyous 



174 THE HALIBURTON TEACHER'S MANUAL 

life and beauty. When you read that story, I wish to see if 
you know what it all means. 

Step 2. — Sound all the new phonetic words in this lesson: 
seem, seemed, frost. 

Steps 3 and ^. — Read silently at the seats and then 
orally in class. 

Step 5. — (a) Pronounce rapidly words at bottom of 
pages 116 and 117; (6) Syllabify words, and make words 
that mean more than one : ev er y thing ev er y bod y 
one sto ry one fair y one ba by 

two sto ries two fair ies two ba bies 

one la dy one kit ty one bun ny 

two la dies two kit ties two bun nies 

The Wind Story Group — Pages 118-121 

The lessons on these pages center about the wind. Lan- 
guage work, correlated with this story group, may be profit- 
ably introduced at this time. 

After the children have studied the picture on page 118, 
the teacher asks questions so worded that the sentences on 
this page may be read in answer; for instance, as the answer 
to, "What are the children doing?" the pupils will read the 
first sentence; to, "How do they fly the kites?" they read 
the second sentence; to, "Where are the kites now?" the 
third; and so on, to the end of this page. 

Teacher: Children, we have found that the wind will fly 
kites. Let us read and find out other things about the wind. 
The story on pages 119 and 120 tells about the sun, also. 

Read the first two sentences (merely introductory). 

Read what the wind said to the sun. What do you call a 
person who talks thus about what he can do? Yes, bragging 
or boasting. What kind of things did he say he could do? 
Bend and break trees, — that was very rough, was it not? 



LESSON PLANS AND TYPE LESSONS 175 

Read what the sun said. What do you think of the sun? 

Now read the last sentence the wind said and the last 
sentence the sun said (on page 119). We find that both claim 
the same thing. Let us see how this matter was settled. 

Read the first two sentences at the top of page 120. 

Read the wind's trial. How did he do his work? Yes, 
roughly; he tried to force the man to take his coat off. 

Now read the sun's trial. How did the sun do his work? 

Which is better: a rough way or a gentle way of working? 

The poem on page 121 is one of those poems so beautifully 
expressed that it needs no explanation. It is written for 
the child and the child will appreciate and make it his own. 
No skillful teacher will force her pupils to memorize a 
poem. Children know poetry when they love it; they 
memorize the things they love as if by instinct. 

In this connection read to the children Robert Louis 
Stevenson's poem, "The Wind." There are other choice 
poems about the wind, such as Eugene Field's "The Night 
Wind." The children will especially enjoy them at this time. 

Suggested Seat Work, Page 118. — Draw boys flying kites. 
Draw a picture of clothes hanging on a line, and indicate 
that the wind is blowing. 

Phonic Exercise. — Phonic drills on the words on pages 118, 
120, and 121, with drills on groups chosen from the Phonetic 
Chart, will suffice at this point. 

Briar Rose: A Study Lesson 

Briar Rose, or The Sleeping Beauty as it is often called, 
is a fairy story of the most fanciful kind, but it is one that 
the children love. This fact alone would be sufficient justi- 
fication for teaching it, if justification were needed. Besides, 
it symbolizes the most beautiful of nature's glorious changes. 

It is a long story, but the teacher should develop one 



176 THE HALIBURTON TEACHER'S MANUAL 

thought-whole at a time, ending a reading lesson at the end 
of any one of these thought- wholes if it seems best to do so. 
The best outline of these thought- wholes is given below: 

1. Introduction. 

2. The queen makes a wish. 

3. The king gives a feast for the wise women. 

4. Some of the wise women make gifts to the princess. 

5. The angry wise woman makes her gift. 

6. The last wise woman makes her gift. 

7. The king tries to save the princess. 

8. The princess finds a dark stairway and a forgotten room. 

9. The princess strikes the spindle and everything falls asleep. 

10. The hundred years pass. 

11. A brave prince hears of the castle and finds it. 

12. The prince finds Briar Rose and wakes her. 

The teacher's questions and preparatory talk set forth the 
problem to be solved and lead directly to reading the intro- 
duction to the story. 

Preparatory Talk. — What is the name of our story? Yes, 
Briar Rose. (Writes Briar Rose.) That was the name of a 
princess (writes princess.) Who can tell me what we mean 
by princess? Yes, the daughter of a king or queen. What 
do we mean by a prince? (Writes prince.) Well, we are 
to read about a princess and a prince. After we have read 
the story, I shall ask someone to tell me why they called the 
princess Briar Rose. 

In our story we will read about six wise women. (Writes 
six wise women.) Now a wise woman was a kind of fairy, 
one who could do things which could not be done and knew 
things which were not known by men ordinary and women, — 
not even by kings and queens. They did not look in the least 
like the other kind of fairies, who were tiny, beautiful crea- 
tures. They looked just like homely old women who worked 
at weaving and spinning and other tasks. (Writes spinning.) 



LESSON PLANS AND TYPE LESSONS 177 

How many of you have ever seen a spinning wheel, at 
which women used to spin thread — all the thread they had 
to sew with? Do you know what the spindle of a spinning 
wheel is like? (The teacher should show pictures of spinning 
wheel, explain and describe the way it turns and whirls, the 
use and appearance of spindle.) 

Now I wish you to read the first five lines and tell me 
when Mother tells this story to the children. After we have 
finished reading the story, I'll see who can tell me why 
Mother waits till springtime to tell this story. 

How does the story of Briar Rose begin? Read the next 
two lines aloud. Well, if they were a good king and queen 
I hope they were happy. 

The queen makes a wish. (The teacher writes the head- 
ings as she speaks them.) Read to bottom of page and then 
tell me what the wish was and whether it came true. 

The king gives a feast for the wise women. Read the 
next page (123) and tell me about it. 

Some of the wise women make gifts to the princess. Read 
ten lines on next page and then tell me about this. 

The angry wise woman makes her gift to the princess. 
Read the rest of the page (124) and five lines on next page. 
Then tell me about it. 

The last wise woman makes her gift. Read rest of the 
page (126) and tell me about that. 

The king tries to save the princess. Read seven lines on 
next page; then tell me about it. 

The princess finds a dark stairway and a forgotten room. 
Read eight lines on this page and five lines on the next page 
(128). Then tell me about this. 

The princess strikes the spindle and everything falls asleep. 
Read rest of page and tell me about this. 

The hundred years pass. Read next page (129) and tell 
me what happened during that time. 



178 THE HALIBURTON TEACHER'S MANUAL 

A brave prince hears of the castle. Read 15 lines on next 
page (131) and tell me what he does. 

The prince finds Briar Rose and wakes her. Read all 
the rest of the story except the last two lines. Then tell me 
what happened. What did the children say about this story? 
Why do you suppose they liked it? Do you like it? Why? 

Now who can tell why the princess was called Briar Rose? 
Do you know why Mother waits till the springtime to tell 
this story? Think a little and you will find out. What 
about the trees and flowers during the winter? Do they seem 
to be awake as they do in the summer, or do they seem more 
as if they were asleep? When do plants seem to be waking 
up? Yes, in the springtime. Does not the whole earth seem 
to be waking up then? What makes everything wake up in 
the spring? Yes, the warm bright sun. Now can you tell 
me what makes Mother think of the prince ? Yes, the bright 
warm sun. What makes Mother think of the princess, lying 
asleep a long time, waiting for a bright prince to wake her up? 
Yes, the earth in the winter time. Now can you tell me why 
Mother waits till the springtime to tell this story? 

A second reading — that is, an oral reading — should 
afterwards be conducted, in which the teacher points to 
the headings of the outline on the board and asks, "Of 
what are we going to read next?" The children answer 
by reading the heading aloud, and then by reading aloud 
from the book that part of the story which applies. 
Language and Phonic Exercise. — 

one rose one ax one mouse one goose 

two ros es two ax es two mice two geese 

one foot one tooth one leaf one knife 

two feet two teeth two leaves two knives 

one wo man your self him self 

two wo men your selves them selves 



LESSON PLANS AND TYPE LESSONS 179 

Farewell to the Farm: The Last Lesson 

Teacher: Turn to the last lesson in your book and look 
at the picture on page 133. Whom do you see? Yes, I 
think it is Grace. What is she doing? I think she is wav- 
ing a good-by to you children, who have been visiting her 
and the others at their farm, all through this First Reader. 

I will read you the verses on this page and then you may 
read them to me. In these verses we will say farewell 
to all the places that we went to with Grace and the other 
children: farewell to the house and yard, the field and lawn, 
the pump and stable, tree and swing, to the ladder at the 
hayloft door, and to that dear old hayloft itself, where the 
cobwebs cling, and which we love, for it was such a jolly 
place to play! We must say good-by to it and everything. 

If the teacher reads the verses with natural feeling in her 
tone, the children will be stirred, and they will close their 
First Readers with feelings that surely mark the inception 
of appreciation and love for literature. 

Detailed Lesson Plans in Reading from the Second 

Reader 

The first lesson in the Second Reader is a link connecting 
this book with the First Reader. 

The pupils who have read the Primer and First Reader 
will recall with pleasure the good times they have had with 
Grace, Alice, Frank, Max, and Betty. The interest they 
have felt in Grace and Frank will be increased by finding 
that they, too, have advanced to the Second Grade and that 
with them are other interesting young people, Dan, Will, 
Carrie, and May. It will seem quite natural to these 
young readers that Max, Alice, and Betty have not yet 



180 THE HALIBURTON TEACHER'S MANUAL 

attained the honor of being included among the members 
of the Second Grade. 

All these facts and the links connecting this book with the 
ones previously read should be brought out by the teacher's 
talk when the book is first placed in the hands of the pupils 
who are to read it. Then, as a more special preparation 
for the first as well as for the second and third lessons, the 
teacher should hold a conversation lesson about Indians, 
bringing out all that the children know, or need to know 
at this time, of the red people. Of the words listed as new 
the teacher should use the following in her talk, writing 
them on the board as she speaks them: 
Indians wigwam 

squaws headdresses 

pappoose warpath 

Hi-yah 

The children can sound the remainder of the new words. 
After the talk about Indians, the teacher asks: "What is an 
Indian brave? squaw? pappoose? wigwam? Tell all you 
know about them. How do Indian men spend their time? 
Who does the work? What is the warpath? the war cry? 
Do Indians give their children such names as we give ours? 
Why do they call their girls by such names as Light-Foot, 
Bright-Eyes, Blue Bird? Why do they call boys such names 
as Kill-Quick, Big Bear> Red Fox? Why are Indian 
women afraid of the braves or warriors to whom they are 
married? Who does the work of cooking, tending the 
children, waiting on the men, and so on? Do Indian children 
who have always lived in the forests go to school? How 
do they learn the stories that they tell to each other?" 

As an assignment for the silent reading or study of the 
first lesson, the teacher writes on the board the following: 
What do the Book Children think they would like to do ? How 
do they play after school? 



LESSON PLANS AND TYPE LESSONS 181 

After the oral reading of the lesson the teacher may use 
for drill exercises in phonics and syllabication the following: 

second arrows 

Indians headdresses 

pappoose 

In syllabifying, the words are written undivided into 
syllables; the pupils divide them into syllables by drawing 
lightly a vertical line between the syllables. They should 
give the words by syllables before pronouncing them as 
wholes; thus: 

sec ond pap poose head dress es 

second pappoose headdresses 

Ind ians ar rows 

Indians arrows 

The children give one syllable at a time, accenting one as 
strongly as the other. When they give the word as a whole, 
however, they must accent the correct syllable. 

Playing Indians, Pages 7-9 

As a special preparation for the lesson on page 7 the teacher 
directs the study of the lesson picture by questions, as: 
What are the children doing? How many of the Second 
Grade boys do you see? How many of the girls? They are 
dressed so much like Indians and look so much alike that 
we cannot tell from the picture which is Grace or Frank or 
the other children. 

Preparatory Talk. — Read the story carefully so that 
you can find out by comparing the sentences with the 
picture who it is that has the bow and arrows, who it is 
that holds the fishing pole, who is making the fire, and so on. 
After you have read the story carefully, you may play it 
from the book and afterwards you may play it without 



182 THE HALIBURTON TEACHER'S MANUAL 

the books, if you wish. Then you will not have to remem- 
ber the very words of the book, but you will have to know 
how to talk for the children in the picture and how to do 
what they are represented as doing. I shall write on the 
board a few things I wish you to find out by reading the 
lesson carefully to yourselves: Which of the boys knows 
best how to play Indians? Read to find which boy is 
Will and which girl is Carrie, and just what each is doing 
and saying. Read to find which boy is Dan and which girl 
is May. What are they saying to each other? Read to find 
what Grace is saying and doing. 

The oral reading, or the recitation, will be a dramatized 
reading of the lesson. 

After the reading recitation, the teacher should hold a 
quick, spirited phonic drill on the words listed at the close 
of the lesson, pointing out particularly the effect of the letter 
m upon the following a or ar, also the soft and beautiful 
sound of the letter a in the words path, bath. 

Kill-Quick and the Bears, Pages 9-12 

The teacher's talk should include facts about the brown 
bear, — his appearance, habits, food. The divisions of the 
story as given in the book are not to be followed in the 
arrangement of the study lesson. This consists of the ten 
questions on the board. (See specimen study lesson under 
Chapter II; page 21 of this Manual.) 

A short discussion of the lesson may follow the oral read- 
ing of it. In this discussion the child should be led to per- 
ceive the ethical teaching of this story by means of the 
following questions, among others: Do animals ever help 
people? How did the bears help Kill-Quick? Could he 
have found the honey so easily by himself? In what other 
ways, besides finding food for him, did the bears make 



LESSON PLANS AND TYPE LESSONS 183 

Kill-Quick happier and more comfortable in the wild forest? 
Would it have been safe for a little boy to live in the cave 
alone? What if Kill-Quick had begun to fight the baby 
bears as soon as he saw them that first morning in the cave? 
What was the best thing that Kill-Quick learned by living 
in the wild forest? 

After the reading lesson there should be held a phonic 
drill on the words at the bottom of page 10, to emphasize the 
phonograms ir, es, and the families irst, ush, and the ending 
ful: also, in the words on page 12, the phonogram alk, the 
soft and beautiful sound of a in the family ask, and the end- 
ing ed; and a short exercise in syllabifying the following words : 
near ly play ful sun rise 

nearly playful sunrise 

ber ries Ion ger be side 

berries longer beside 

hon ey 
honey 

How the Robin got his Red Breast, Pages 13-14 

In a preparatory conversation with the children, the teacher 
should try to convey some idea of what the cold dreary 
Northland is, and what the condition of the people living 
there would be if they had no fire. 

The talk will become to some extent a nature lesson on 
the appearance, the habits, the food, of the fierce white 
bear, the struggle he has to obtain food, and of the conflict 
that necessarily arises between himself and the people of 
the cold Northland, who prize the same food and who often 
find it as difficult to secure as the bear does. 

If the class is not familiar with the robin, good pictures 
of the bird should be shown them, enough should be told 
of the bird's cheery song, his services to the farmer and, 



184 THE HALIBURTON TEACHER'S MANUAL 

therefore, to us all, to arouse the children's interest in the 
bird before they read this lesson and the poem following it. 
To guide the silent reading, or study, of the lesson, the fol- 
lowing may be written on the board: 

Read the lesson through. Find what was the work of the 
old man and the boy. Find who undid all their work and 
why and how he undid it; who helped the man and the boy 
and all the people, and how. Which bear do you like the best, 
the white bear in this story, or the brown bear with whom 
Kill-Quick lived ? Why do you like that bear best ? Of what 
will you think, hereafter, every time you see a robin with his 
pretty red breast? 

The phonic exercise to follow the oral reading should em- 
phasize the phonograms oy and ur , and the endings, ed and es. 

Robin Redbreast, Pages 15-16 

This poem (pages 15 and 16 give two parts of one poem), 
like all, or nearly all, poems, should be read aloud by the 
teacher before it is read by the children, and it requires 
a preparatory talk by the teacher, even before she reads it 
to the class, to be clearly understood by the pupils. 

The following questions may be asked: How many of 
you love the summer time? Why do you love it? To what 
things do you have to say good-by when the summer is 
nearly gone? (To the birds, butterflies, bees, the flowers, 
etc.) How do the flower gardens look late in the summer 
and in the fall? During the summer we say the flower 
gardens smile brightly at us; what do we mean by that? 
But in the fall they smile very faintly, not so brightly as 
in the summer; what do we mean by that? Yes, they are 
fading, smiling faintly, for summer is nearly done or gone. 
How do the trees look before the leaves fall in the autumn? 
Yes, in some parts of the country they are very beautiful; 



LESSON PLANS AND TYPE LESSONS 185 

the leaves turn from green to different shades of yellow, red, 
brown, and orange. 

Preparatory Talk. — I think the poet who wrote the 
verses we are going to read lived where the leaves turned 
these beautiful colors in the fall. He says the autumn 
trees are Indian princes. Indian princes wear beautifully 
colored robes of bright yellow, red, and orange. But soon 
the beautiful leaves begin to fall; they come fluttering down 
in hosts, that is, in great numbers. Soon the trees are naked. 
The poet says they have changed from Indian princes to 
ghosts. The fruit trees do not bear such gorgeously colored 
leaves, but some of them, especially the pear and apple 
trees, look very beautiful sometimes, when the sun shines 
on the red or russet yellow fruit. How many have ever 
seen a bough laden with russet — brownish-yellow — pears? 

Do we see as many birds in the fall and winter as in the 
summer? Why not? How many have heard a thrush 
singing in the summer? The thrush's song is very beautiful. 
How many have seen the swallows skimming along through 
the summer air? When the breezes of the fall begin to blow 
very cool — almost cold — we no longer see the swallows 
flying overhead nor hear the song of the thrush. The 
swallows and the thrushes and most of the other birds have 
flown away to a warmer part of the country. The robin 
stays with us till later, and flies about hither and yon over 
the country, going from place to place. Flocks of them 
visit us, making us all glad by their cheery song when we 
hear it in the "falling of the year", as the poet calls it. 

After some such preparatory talk and after the teacher 
has read the poem aloud to show the music in it, the children 
will enjoy reading it themselves. 

In the list of words on page 15 the following sounds are 
emphasized: oo in the family ool, ow in the family own, 



186 THE HALIBURTON TEACHER'S MANUAL 

ai in the family aint, and ea in the family ear. The last is 
a difficult sound for children who do not give long e before 
r correctly in their everyday speech. 

The words for drill on page 16 emphasize the phonograms 
ince and inces, and the terminal, low. Children should not 
be allowed to say princis for princes, or yeller for yellow. 
By means of the drill on this list of words, the close inter- 
relationship between phonics and spelling may be pointed 
out by calling attention to the change of / into v when mak- 
ing such words as leaves and sheaves from leaf and sheaf. 

This lesson may be considered as closing the first of the 
nine story groups or lesson groups of the Second Reader. 



The Wee Good Folk, Pages 17 and 18 

This represents a teacher's talk to her pupils about the 
wee good folk, the fairies, the elves, the brownies, the trolls, 
and other imaginary creatures to whom frequent reference 
is made in the songs, stories, and games that characterize 
Halloween festivities. 

Perhaps there can be no better way of presenting this 
lesson than by the teacher assigning it as a silent reading 
lesson and then reading it aloud to the class, adding any 
bit of information that may be necessary to give a rather 
full introduction to "wee good folk" of story land. 

The teacher may say: "I wish you to read for yourselves 
this lesson about the Wee Good Folk" — (writing the 
phrase) — "of whom we shall hear and read a good deal in 
our talk and stories about Halloween." (Writes Halloween.) 
"We shall read more about elves, brownies and trolls" — 
(writes elves, brownies, trolls) — "than we shall about fairies." 

She asks the children to read the lesson through in silence 
and when they have finished it to answer all the questions on 
the board in their own words. 



LESSON PLANS AND TYPE LESSONS 187 

Who were the Wee Good Folk? What about the elves? 

What about the fairies? What about the brownies? 

What about the trolls? What about Halloween? 

It is sometimes a good exercise to have pupils take turns 
at asking each other the questions written on the board. 

The teacher may read this lesson and try to make it as 
nearly as possible "a talk from the book," lifting her eyes 
and looking at the children as she speaks the sentences she 
gets from rapid glances at the page. 

The little poem on page 19 may be given with this lesson. 
The picture must be studied and discussed, of course, — who 
is seen in the picture; what they are doing; which one is 
standing up; why the boy is kneeling; how much taller 
the boy must be than the elf, which is "grown up," or as 
big as he will ever be; what flowers we see; what we mean 
when we say where the lilies bloom and where the lilies blow, 
— two ways of saying the same thing. 

Concert reading is not to be indulged in too often, but 
children are always delighted with this quaint fancy of 
John Kendrick Bangs and every one in the class will prob- 
ably beg to read it aloud after he hears his teacher read it. 
She might make an occasion for reading it aloud the second 
time and then allow the class to read it in concert. 

The list of words at the bottom of page 18 furnishes drill 
on the sound of the phonogram ea in the family each, and on 
ar in the family arm, and on the terminals es and er. The 
words at the bottom of page 19 will emphasize a point in 
spelling which has already been made; that is, the change 
of / into v in forming such plurals as elves, shelves, selves, 
and yourselves, from elf, shelf, self, and yourself. 

The Magic Hammer, Pages 20-25 

In planning this lesson, the teacher will see that, aside 
from the story interest, which is always the greatest thing 



188 THE HALIBURTON TEACHER'S MANUAL 

to the child's mind, the big thing, the central thought — or, 
as Miss Jenkins terms it, "the heart of the story" — is the 
nobility of gratitude, the fact that "it pays to be kind to 
others." Even the youngest of the readers will appreciate 
the fact that Paul was already tired from a hard day's work 
when he began to count for the elves, also that to stand still 
and count for the elves all night was very, very tiring. 
It was not in itself a pleasure, yet Paul did it and did it 
gladly, for he remembered what one of the elves had done 
for him. The children cannot find the central idea of the 
story unless they read it thoughtfully more than once. 

The following questions written on the board will guide 
the silent reading for thought: 

Read the lesson through to find: 

1. How Paul looked, with whom he lived. 

2. How Paul felt and what he did one day. 

3. When Paul waked what he saw. 

If. Tell Paul's conversation with the elf. 

5. Where the elf took Paul. 

a. What Paul saw and heard there. 

b. What he did all night. 

6. What the elf said to Paul, 
a. What he gave to Paul. 

7. What Paul did after he got the hammer. 

After the class has read the story silently, they may be 
asked to reproduce it, giving in their own words the answers 
to the questions above, before reading it orally. If the 
teacher thinks best, she may have them read the story 
aloud, following this outline, and omit reproducing it. 

When reading page 22 the children will be much interested 
if the teacher shows them on a yardstick how much "two 
feet" is, reading again the lines: 
"Elves so small 
Two feet tall," etc. 



LESSON PLANS AND TYPE LESSONS 189 

This helps the children to visualize the scene described. 
She may suggest also: "Let me show you how the elves 
were chanting or singing their counting rime: One, two, 
three and four, etc." After the teacher speaks the word 
"seven" she halts suddenly, giving the children the right 
idea of reading this rime with marked rhythm and an abrupt 
halt. The teacher may suggest: "Let us all repeat together 
this counting rime, just as the elves did, and all halt sud- 
denly as soon as we say 'seven' just as if we, like the elves, 
had forgotten how to count." 

After the children have read the story, the teacher may 
discuss it with them, for the purpose of leading up to the 
central thought of the story and impressing it upon their 
minds. How did Paul feel when he went into the woods? 
Why was he so tired? How else did he feel that day? Why 
was he so sad? Have you ever seen a hunchback? Did 
you feel sorry for him? Do you suppose Paul enjoyed stand- 
ing still and counting all night long for foolish little elves 
to dance, especially after he had been working hard all 
day? Why did he do it? Do you suppose Paul knew that 
the elves would give him something valuable like that magic 
hammer? No, he didn't know it or even expect it; he 
thought he had gained a big favor, already. What if Paul 
had refused to continue counting, after he had grown so 
tired and so sleepy as he must have been? Would he have 
become such a happy, prosperous man if he had not received 
the hammer? Did anyone ever do you a kindness? How 
did you feel toward him? Did you wish for a chance to do 
something to help or please him, even though you knew 
you would get nothing more for doing it? What did you 
like about the elf who found Paul asleep? What do you 
like most in Paul? 

Probably every child in the class can get every word in the 
lesson for himself in his silent reading. 



190 THE HALIBURTON TEACHER'S MANUAL 

After the oral reading of the lesson, a drill on the words 
on page 21 should emphasize the sound of au, in the phono- 
gram aul, of unk, and the terminals mer, ed after ow. 

The drill on the words on page 23 emphasizes the sound 
of the phonogram igh in the family ight, the sound of a in 
the phonogram ance, the contrasting sounds of ou in the 
phonogram ount and in the phonogram ought. 

Bruin and the Troll, Page 25 

Preparatory Talk. — The title of our story to-day is 
"Bruin and the Troll." You know what a troll is. Well, 
"Bruin" — (writes Bruin) — "is just another name for 
bear. Our story will tell us of the strange " — (writes strange) 
— "adventure of a soldier" — (writes soldier) — "and his 
pet bear, which he found in the cold North Country" — 
(writes country) — "when it was a little cub. Have you 
ever seen a pet bear, or a tame bear? Did you see it march 
with a make believe gun over its shoulder, and keep time 
to the drum beats? Did you ever see it dance while its 
master whistled or sang for it? Our story tells of a bear 
who could do all this for his master. 

The teacher then assigns the silent reading lesson, by tell- 
ing the class to follow the directions written on the board: 

I. The soldier finds the cub. 
Read the lines that tell: 

1. Where the soldier found the cub. 

2. What kind of bear the cub became. 

3. What the soldier thought of doing and did. 

^. How the soldier and Bruin spent the days and nights. 

II. Night in the stormy woods. 
5. Where the soldier found himself one night. Describe the 
storm. 



LESSON PLANS AND TYPE LESSONS 191 

6. Read the words the soldier spoke to Bruin. 

7. Whom the soldier met. 

8. Read the words spoken by each in the conversation. 

III. In the little house. 

9. What the soldier found and did in the little house. 

10. What waked the soldier late in the night. 

11. Describe the troll. Tell what he had with him. 

12. What the troll saw, thought, said, and did. 

13. Show how the troll acted as he said this. 

lit. How the troll waked Bruin — and what Bruin did when 
he first waked. 

15. Describe the battle between Bruin and the troll. 

16. Tell how the battle ended and what the soldier said to 
Bruin. 

IV. In the forest again. 

17. When the soldier met the woodman again and what he 
told him. 

18. What the woodman did and said. 

19. Where the woodman saw the troll. Read the words 
spoken by the troll and the woodman. 

20. What became of the troll. 

The foregoing outline will guide the children's silent read- 
ing, as well as their oral reproduction of it in their own 
words, — their books being closed during the reproduction 
exercises. It may serve also in the oral reading or recita- 
tion, as an indication of what each pupil is to read, — where 
he is to begin and where to stop. 

A drill upon the words on page 26 will emphasize the phono- 
gram of the family, aught, the soft sound of a (short Italian 
a) in the phonogram ast, and the terminal er. The words on 
page 33 emphasize the sound of oi in the phonograms oise 
and oises, and the terminal die. 



192 THE HALIBURTON TEACHER'S MANUAL 

The story of "Bruin and the Troll" may be used to good 
purpose as the material for a dramatization which the 
children can be led to arrange for themselves by slightly 
adapting the story. This work of adaptation might take the 
place of the regular oral reading lesson. The teacher's sugges- 
tion of the fun there will be in "playing" the story will be 
sufficient to arouse the children's enthusiastic cooperation. 

She asks: "How many people shall we need to play the 
story?" (Four.) "Yes. Who are the characters in the 
story ? " She writes, as the children answer : 



Characters: 




The Soldier 


The Troll 


The Woodman 


Bruin 



"Very well, these are the characters for our play or drama- 
tization. You know, in a play the characters talk nearly 
all the time. Now, look over the story and let us see which 
of you can tell me the best place in the story for our drama- 
tization to begin." 

Acting upon the above hint about the "talking" in a 
dramatization, some child will be very apt to decide quickly 
for the class by saying, "Begin at the second paragraph 
on page 27." 

The teacher agrees and asks: "What scene shall we write 
for this first act of the play? I mean by that, what place 
must we make believe we are showing in our first scene? 
Read over page 27 and tell me. Yes, you are right, in the 
woods. But shall we play that it is day, or night, in the 
woods? What kind of night? Yes, a stormy night. Are 
all four characters to appear in this first act or scene, that 
is, do all four of them meet in the woods on this stormy 
night? Well, which characters appear in this first scene, 
— that is, on the stormy night in the woods? You are 
right, only the soldier, Bruin, and the woodman. What 



LESSON PLANS AND TYPE LESSONS 193 

characters talk in Act I, or Scene I? Yes, the soldier and 
the woodman. Is there anything that will help those who 
are to act in the play to know where to stand, what to hold, 
and how to look, while they talk? Yes, the picture will 
help. Look over the rest of the story and try to find out 
just when the talking ends in Act I, or in the first scene; 
that is, does the talking end while it is night in the stormy 
woods? Yes, the talking in Scene I ends near the bottom 
of page 29. Who spoke last, and what did he say? Yes, 
the soldier; he said, 'I should be glad to have some sticks 
from your bundle.' 

"What is the last thing that is done in Act I? Yes, the 
woodman takes some sticks from his bundle and hands them 
to the soldier. What five words tell you what the woodman 
did after he gave the sticks to the soldier? Yes, the words 
'and he went his way.' But don't you suppose they said 
one other thing to each other before they parted? What 
would you have said? Yes, I think both said, 'Good night.' 
What must the boy who is acting the part of the woodman 
do after he gives the soldier some of his sticks and says, 
'Good night'? Yes, he leaves the scene; that is, he walks 
off, passes out of sight. Where is he supposed to go ? Yes, 
to his wife and children at home. Where is the soldier sup- 
posed to go with his bear? Yes, to the little house at the 
foot of the hill. Now we are ready to compose Act I." 

The teacher writes the beginning of the play on the 
board and, by questioning on her part and by silent reading 
on the part of the children in their search for the "talking 
parts" (which they give orally when they find them), the 
following division of the dramatization is put on the board: 



194 THE HALIBURTON TEACHER'S MANUAL 

Scene I 
Time: A stormy night Place: In the woods 

Characters: 

The Soldier The Troll 

The Woodman Bruin 

(The soldier stands holding Bruin's chain with one hand, 
and a pole with the other hand. The woodman comes walking 
slovdy toward the soldier. He has a bundle of dry sticks on 
his back. The soldier does not see him at first. He begins 
to talk to the bear.) 

The Soldier: Well, Bruin, I never . . . about. 

(The soldier gives a start as he sees the woodman coming 
toward him.) 

The Soldier: I am very glad . . . thanks. 

(The woodman stops, looks at the great white bear, and shakes 
his head.) 

The Woodman: That bear would . . . any money. 

The Soldier: I can't leave . . . the storm. 

(The woodman points to a place in the distance. The soldier 
looks in the same direction.) 

The Woodman : Do you see . . . found it. 

The Soldier: What did he do to . . . little house? 

The Woodman: Oh, he played ... is still there. 

The Soldier : Well, Bruin and I ... a fire. 

(The soldier holds his pole by resting it on the bear and he 
holds out his left arm curved to take the sticks, which the wood- 
man gives him.) 

The Woodman: Good night. 

The Soldier: Good night. 

(They both pass out of sight, the soldier leading his bear.) 



LESSON PLANS AND TYPE LESSONS 195 

Scene II 
Time: The same night Place: Inside the little house 

(The soldier makes afire with the sticks as he talks to Bruin, 
who is sitting on his haunches beside him.) 

The Soldier: I wish I had something to cook in this 
fire! Well, I will lie down in the back of the room. You 
may curl up here by the fire and go to sleep, Bruin. 

(They both lie down and are soon fast asleep. Everything 
is perfectly still. Then the troll comes in, dragging a big heavy 
bag behind him. He passes the soldier without seeing him; 
but the soldier wakes and sits up. The troll sees the bear, 
drops his bag, stands still a minute, then tiptoes up to the 
bear and stands still looking down at Bruin, and begins to talk 
in a low tone to himself.) 

The Troll: My! What a big . . . her home. 

(The troll picks up a stick and with it strikes the sleeping bear, 
who slowly lifts his head, opens his eyes, rolls over and then 
stands up on his hind feet, snatches the stick from the troll, and 
sends it spinning to the back of the room. Then Bruin and 
the troll fight, till the troll snatches off his cap; with it he strikes 
Bruin in the face and rushes from the room, howling as he runs. 
The soldier gets up, comes to Bruin and pets him as he speaks.) 

The Soldier: Good for you . . . that is in it. 

(The soldier opens the bag that the troll left; takes something 
out of it; sits down with it before the fire, begins to cook it. 
Bruin sits by him while he cooks the sheep and then eats it. 
After a little while the soldier leads Bruin away.) 

Scene III 
Time: The next morning Place: In the same woods 
(The woodman meets the soldier and his bear.) 
The Soldier : The troll came to the little house last night. 
When he saw Bruin asleep he took him for your cat. He 



196 THE HALIBURTON TEACHER'S MANUAL 

began to beat Bruin with a stick of wood from the fire. 
I wish you might have seen the battle they fought! I guess 
he thought your cat was a good fighter. 

(The woodman holds his sides and laughs till he shakes.) 

The Woodman : Ha ! Ha ! So he . . . like Bruin. 

The Soldier: Well, good-by. 

The Woodman: Good-by to you. 

Scene IV 
Time: A few days later Place: In the same woods 
{The woodman walking along with a bundle of sticks on his 
back; the troll sitting up in a tree.) 

The Troll: Hi, there, . . . the other night? 
The Woodman (looking up at the troll and laughing aloud) : 
Ha! Ha! Yes, . . . won't you? 

The Troll : Six kittens ! Then I'm off. (He jumps down 
and runs out of sight. Woodman walks off laughing to himself.) 

The Children's Halloween, Pages 3^-39 

Like the lesson on page 17, this lesson should be first read 
aloud by the teacher after she has given the preparatory 
talk. If any teacher happens not to know such facts as 
the way Halloween originated, how it used to be regarded 
and celebrated, to what festivities and games it gives rise, 
etc., she should inform herself by looking up the subject so 
as to be able to talk intelligently and interestingly to her 
class about Halloween. In this talk, and before the children 
read the lesson, the games referred to in the lesson should 
be described minutely, just how fortunes were tried by lit- 
tle lighted candles in English walnut shells, set afloat in tubs 
of water; how they told fortunes by dropping melted lead 
through the open end, or handle end, of a key into the water 
in a tub or a bucket to see what shapes it would take, etc. 



LESSON PLANS AND TYPE LESSONS 197 

She may arouse great interest in the expected lesson on 
Halloween by encouraging the pupils to memorize at home 
some riddle their mothers, grandmothers, or other grown ups 
might teach them, and which they can ask their classmates 
to guess. Such riddles, written on the board by the teacher 
as some child dictates the words, make good reading exer- 
cises and add interest and variety to the work in reading. 
If the pupils read as well as Second Grade children should 
be able to read, the teacher will not need to read this lesson 
aloud. Instead, she may put the following directions on the 
board to guide the pupils' silent reading, or their "study" 
lesson, as well as their oral reading or recitation: 

Read the lesson through so you can tell: 

1. What the Second Grade children wished to do and how 
they made their Jack-o'-lanterns. [The teacher will have ex- 
plained that Jack o' lantern means "Jack of the Lantern."^\ 

2. Tell what they did at May's house, and what they did to 
begin their surprise when they reached Miss Brooks' house. 

3. Tell where Miss Brooks took them, how the place looked, 
and some of the things they saw there. 

4-. Describe the game with walnut shells and lighted candles. 

5. Describe the game with the melted lead and the key. 

6. Describe the game with the swinging apples. 

7. Tell what the children did after playing these games. 

8. Recite the two riddles that are given in the lesson. 

9. Recite any other riddles you wish your classmates to guess. 
10. Describe any other Halloween games you have played. 

The words for drill on page 36 emphasize the sound of ea 
in the phonogram ead and the terminal y; the sound of a 
(short Italian a) in the phonogram art, and the terminals en 
and ened, and the sound of igh in the phonogram ight. 

The charming little poem on page 40 by a gifted cousin 
of Father Tabb embodies a fancy as quaint as that of John 



198 THE HALIBURTON TEACHER'S MANUAL 

Kendrick Bangs' "Little Elf Man." The teacher should 
read this aloud to the class, and then have them read it in 
concert with her. If she can set the last stanza to some 
suitable and familiar tune and sing it with the children, 
they will enjoy it greatly. This poem closes the second 
lesson group of the Second Reader. 

Autumn Fires, Page 1±1 

Preparatory Discussion. — Robert Louis Stevenson could, 
as you know, play happily by himself, but he was even hap- 
pier to have other boys and girls to play with. He tells us 
in the poem we will read next of some of the good times he 
had with the boys and girls, his cousins, with whom he often 
spent the summer in the country, staying until late in 
the autumn when the farmers were clearing off the land. 

How many of you have ever seen a bonfire? What is a 
bonfire? Who will tell how you make a bonfire? Have 
you ever helped to build a bonfire? Why do people build 
bonfires? At what time of the year do they build bonfires? 
Where do you build them? Do you like to build bonfires? 
Why? Do you like to watch a bonfire? What do you see 
besides the red fire as it blazes up? What color is the smoke 
as it goes trailing, or moving, over the fire? Where does the 
smoke go? How high does it go up, while most of it keeps 
together? Do you know what a tower is? Did the smoke 
of your bonfire look something like a high tower of smoke? 
That's what we mean when we say anything towers above 
us: it goes high above our heads. 

Where would a bonfire burn best, up on the side of a hill 
or down in a valley, or vale, as we sometimes call a valley? 
After I have read this poem to you I want you to tell me 
whether other people besides Louis and the children with 
him were making bonfires, and what makes you think so? 



LESSON PLANS AND TYPE LESSONS 199 

Teacher reads the entire poem, rereads it by stanzas, 
and discusses each stanza. She should ask if they can 
tell which stanza shows what a happy boy Robert Louis 
Stevenson was and why they think so. She then rereads it 
again, straight through, while the children close their eyes 
and try to see the picture in the poem. She may ask the 
questions below and may expect some such answers as 
those that are given here. 

Whom did you see as I read the poem? Where were 
they? What were they doing? What were they watching? 
If you could see the fire, tell how it looked. If you could 
see the smoke, tell how it looked. What did you see 
away off in other gardens? What were the children singing? 
(Answers) I saw some children in a garden. They were 
building a bonfire. They were watching the fire and the 
smoke. The fire was bright and red. The smoke was blue 
and gray. I saw bonfires away off in other gardens. The 
children were singing : 

"Sing a song of seasons! 
Something bright in all! 
Flowers in the summer, 
Fires in the fall!" 

Getting Ready for Thanksgiving, Pages 42-^7 

This lesson presupposes a knowledge on the pupil's part 
of certain facts which no teacher should allow her pupils 
to be ignorant of when they enter the Third Grade. 
, The teacher should see to it that, before Thanksgiving 
arrives, her pupils can answer intelligently such questions 
as the following, based on information which she gives from 
time to time in her conversation lesson: When was the 
the first Thanksgiving kept? Tell something of this coun- 
try at that time. What people lived in this country first? 



200 THE HALIBURTON TEACHER'S MANUAL 

Tell something of how they lived. What people came to 
this country from far away beyond the sea? Why were 
these people called the English? Why were they also 
called Pilgrims? Why did they leave their old homes in 
England? To what country did they go before they came 
to this country to live? How did they get here? What 
can you tell about the ships? How did the Pilgrims live 
for a while, after reaching the shores of this country? Tell 
some of the sad things that they experienced after arriving 
in this country. How did the Indians treat them? Where 
did the Pilgrims stay until they could build houses to live 
in? What kind of houses did they build? Tell about the 
buried corn that the Pilgrims found. Why was this such 
a great thing for them? Why is maize, or corn, called 
Indian corn? Tell all you can about the first Thanksgiving 
that the Pilgrims kept. Why did they call it Thanks- 
giving? Tell what they had for the feast, who were the 
invited guests, how the guests were dressed for the feast, and 
how the time of feasting and thanksgiving was spent by the 
Pilgrims and their guests. 

If the pupils are as well informed on the subject of Thanks- 
giving as they should be, they can answer the foregoing 
questions, writing their answers in short sentences, after 
having given them orally. Such exercises should compose 
their language lessons for some time previous to Thanks- 
giving. Their written answers should be in sets of sentences 
like those shown in the lesson as the work Miss Brooks' 
pupils did in telling all they could about Thanksgiving. 
They can doubtless illustrate their language lessons, also. 

As an assignment for the silent reading or study lesson, 
the teacher may simply say: Read what Miss Brooks said 
to her pupils and what the different children wrote about 
Thanksgiving. For the oral reading lesson, one child may 



LESSON PLANS AND TYPE LESSONS 201 

read what Miss Brooks said, and several others may read 
what the children wrote about Thanksgiving. 

Drills upon the words listed on page 44 should emphasize 
the phonograms ch, tch, and the terminal es. The words 
on page 47 present a point valuable in spelling. 

Though the child should hear and say nothing about 
rules of spelling, he should be led to notice that certain 
laws prevail, such as, that the final e is dropped and the 
preceding vowel is doubled when we make such words as 
hidden from hide, written from write, etc. 

The Thanksgiving Party, Page 4.8 

The five paragraphs on page 48 describe what is done in 
so many of our schoolrooms on the last school day before 
Thanksgiving. No preparation for the development of the 
lesson is necessary. It is simply an introduction to the 
stories and other kinds of work that are described here as 
features of the Thanksgiving time. The teacher may very 
well read this page aloud to the children. 

It is not likely that any pupil in the class does not know 
the story of "Jack and the Beanstalk." So the teacher 
would better tell the story in the form given on pages 207-212 
of this Manual, and have it retold by the children as part 
of the language work, until they know it well enough to 
reproduce it readily. After the pupils have read "How the 
Fox Traveled," they may read about how Miss Brooks' 
children worked "Before the Play" getting ready to play 
"Jack and the Beanstalk." 

How the Fox Traveled, Pages 1^9-50 

The subject-matter as well as the wording of this story is 
so simple that the story can be and should be read without 
any form of preparatory work by the teacher. 



202 THE HALIBURTON TEACHER'S MANUAL 

The first exercise should be a silent reading lesson which 
is, this time, not necessarily a study lesson and should not 
be called so by the teacher in her assignment. The assign- 
ment should be merely a suggestion; as, "Read this story 
and see if you like it, and whether you think it is a good story 
to play. If you think it is, you may read it to me in a way 
that will help us play it." 

When the period for the recitation arrives, the teacher 
may say: "Several of you may take turns at reading the 
parts of the story that tell what the fox did. Some others 
may read just the words that the fox spoke and some others 
may read what was said by the different women whom the 
fox met. We must find out from this reading who can 
talk from the book in a way that is most like the talking 
we wish to hear when we play the story. 

"How many women did the fox meet? Yes, five. Did 
they all talk? Yes, they each spoke a few words. Besides 
the fox and the five women, who else are found doing things 
in the story? Yes, the bee, the rooster, the pig, the ox, 
the dog, and the little boy. Did any of them talk in the 
story? Yes, the little boy spoke once, but none of the ani- 
mals did. So we must have some one act and talk for the 
little boy, and others to act for the bee, the rooster, the pig, 
the ox, and the dog. We will select these after we show in 
our reading how to play the story and how the characters 
talk. Those who are to read the talking parts of the 
story must always be ready to read at exactly the right 
time.'* 

The expectation of playing the story will furnish sufficient 
motive for efforts at expressive reading, and the oral reading 
of the story will be attended with much interest. 

When the children are ready to play the story without their 
books, they should be allowed to have all the fun (and that 
will be considerable) that they can get out of it. 



LESSON PLANS AND TYPE LESSONS, 203 

One class that dramatized the story declared it was 
"bushels of fun." The providing of a big "sure enough 
bag" in the form of a stout sack was their own idea; and, 
when the strongest boy in the class, as the fox, went dragging 
along the sack, containing first one and then another class- 
mate as the bumble bee, the rooster, the pig, the ox, the boy, 
and the dog, the appreciative audience was convulsed with 
laughter so contagious that the "five women" found it 
difficult to control their own mirth sufficiently to play their 
parts. It was also the children's own idea of a way out of 
the dilemma as to how to show the rooster, the pig, the ox, 
and the dog, "eating up" their victims. They very quickly 
made the suggestion that the victims be carried off, "clean 
out of sight," so that the repeated tragedy of the "eating" 
might be supposed to take place "behind the scenes." All 
the other actions of the play were enthusiastically and fully 
carried out, even to the rapturous eating of the pumpkin 
pie by the poor little hungry boy, and the careful hiding 
of him behind the door by the shrewd owner of the dog, 
even though this last act is not given in the details of the 
story. This, as well as the lively resistance of each vigor- 
ously kicking victim as the fox popped him into the bag, 
was also the children's own idea, and received delighted 
applause from the spectators. 

Perhaps it may not be necessary, but it will be safer to 
repeat the caution that one of the hardest things for an 
enthusiastic teacher to do is to "let the children alone" 
when problems arise in the matter of arrangements for 
the dramatization. If let alone, the children will use their 
own judgment; they will be found rich in imagination and 
in invention when it comes to "let's pretend" or "let's 
make believe." To do for them things that they can do for 
themselves, to anticipate results at which they should arrive 
of their own initiative, is to rob them of valuable opportuni- 



204 THE HALIBURTON TEACHER'S MANUAL 

ties for the development of their own powers of imagining, 
of reasoning, and of judging. 

The list of words for drill on page 55 emphasizes the sound 
of the letter n before g. 

Before the Play, Pages 55-58 

This lesson, which follows the teacher's telling of "Jack 
and the Beanstalk," may be regarded as an introduction 
to the dramatized reading of that story. It is intended to 
help and encourage pupils in playing stories, by showing them 
that even the Book Children get ready to play a story just 
as they themselves do. 

To read the lesson intelligently and with interest the 
pupils must study the picture on page 57. The teacher guides 
this study and the silent reading by suggestions and ques- 
tions, thus: "Miss Brooks' children know the story of 
'Jack and the Beanstalk' as well as we do. They are 
getting ready to play it in much the same way that we get 
ready to play stories. You can see that in the picture on 
page 57. The children are working and talking together. 
Look at the top of page 56 and tell me who speaks first as 
these children talk together before the play. Yes, Carrie 
speaks first. Let us read silently what she says and then 
someone may tell me from the book just what she says." 

Then the teacher asks, "Who speaks next?" and makes 
the same suggestion for the silent and oral reading by another 
child of what Dan says on page 56. The study of the picture 
now enters into the exercise of silent reading. The teacher 
says: "Read page 57 and two lines on page 58, studying 
the picture as you read. Then someone may tell me which 
child in the picture is Will, which Frank, which Dan, Grace, 
May, and Carrie. Who can tell me what Will is doing in 
the picture? Now tell me from the book what he is saying. 



LESSON PLANS AND TYPE LESSONS 205 

Who speaks next? Yes; Grace. What does she say? 
Tell me from the book. 

"Do you see Grace showing the beans? I do not. Who 
speaks next? Yes, May speaks next. Look at the picture 
and tell me what May is doing. Yes, she is placing the 
chairs together. What is she saying? Tell me from the 
book. Who speaks next? Yes; Frank. Tell me what he 
says. Is that Frank on the stepladder? No, I'm sure it is 
not. What is that he has in his hand? Yes, a hammer. 
Read to see who it is that is saying something about the 
hammer. Yes; then that is Dan standing on the stepladder 
with the hammer in his hand and he is talking to Frank. 
What is Dan saying to Frank? Tell me from the book. Who 
speaks next? What is Carrie saying? Show me in the pic- 
ture which is Carrie. Who is opening the box that is to 
be the make-believe oven? Who speaks next? Yes; Grace. 
Read to yourself what she is saying this time. Then show 
me in the picture which is Grace. Tell me from the book 
what she is saying about that empty picture frame." 

Such oral reading as described here will be sufficient. 
This lesson will have served its purpose and holds no more 
interest for the children. It has told them what the Book 
Children did and said before the play. 

Jack and the Beanstalk, Pages 58-65 

This is intended for a dramatized reading primarily, but 
the promised permission to play it without the book will 
prove an incentive to careful and thoughtful reading. So 
it may be dramatized after it has been read dramatically 
if the teacher is willing to have it played. During the 
dramatic reading, the material in italics may be treated 
as indicated at the bottom of page 58 or it may be read 
orally by the pupils, in lower tones than those used in the 



206 THE HALIBURTON TEACHER'S MANUAL 

dramatic reading, as answers to questions put by the 
teacher. 

To facilitate a smooth and ready reading of the text, 
certain pupils should be selected to read the words spoken 
by Mother, Jack, and the Butcher in Acts I and II and cer- 
tain others to read in lower tones the matter in italics when 
the teacher calls for this matter by her questions. 

Other children should be selected to take the parts of 
Jack, the old Woman, and the Giant in Act III and of Jack 
and Mother in Act IV, and for each of these acts certain 
other pupils should be selected to read the italicized matter 
as answers to the teacher's questions, just as in Act I. 

As an assignment of the study lesson, nothing more is 
necessary than the request from the teacher that they 
read Act I so carefully that they will be able to help each 
other get ready to play the story by their oral reading. 
The same may be done for Acts II, III, and IV. These 
different acts or parts may be read as far apart in point of 
time as the teacher thinks best, but the class should be able 
to read the whole lesson in one recitation period. 

Before the oral reading of Act I, the teacher says to three 
pupils: "You are to talk for Mother. Tell from the book 
what she said. You are to talk for Jack. Tell what he 
said to Mother. Tell me in a lower voice what Jack does 
after answering Mother." This last child reads the words 
in italics: He throws the rope over the cow's head and drives 
her along until he meets the butcher. 

In this way the four acts or divisions are read orally, the 
teacher bringing out the proper emphasis by such questions 
as, "Do you think Mother spoke so cheerfully as that, when 
they were without food or money and had to sell the cow, 
which was just about all they had in the world? How do 
you think she felt? How do you think she told Jack of 
their bad plight? Show me how you think she spoke." 



LESSON PLANS AND TYPE LESSONS 207 

Or, "How did Jack say that, as he looked at the beans and 
thought they were so very beautiful and so wonderful? 
Show me how he said that." Or, "Don't you think Mother 
was very angry with that silly boy, Jack, for selling their 
good milk cow for a few beans? How did she say that? 
Show me how you think she spoke." 

To prepare for the action in the forthcoming play, she 
may say, "Show me how Mother catches up the beans in 
her great anger and throws them as far as she can send them. 
Show me how she throws her apron over her face and head 
and cries out loud in her grief over the loss of their cow." 

The prospect of playing the story just as well and perhaps 
better than the admired Book Children will prove an incen- 
tive to persistent effort at expressive reading and action. 

This lesson closes the third group of the Second Reader. 

Jack and the Beanstalk 

Once there was a poor woman who had one child, a son 
named Jack. They were very poor. Besides their little house, 
the only thing they possessed in the world was a little red cow. 

At last the woman found that they had nothing to eat 
and that they must sell the little red cow for money to buy 
bread and meat. She made up her mind to do this and said 
to Jack: "We have nothing in the house to eat, Jack. We 
must sell the cow." 

Jack, too, hated to give up their cow, but he said cheerfully, 
"Very well, Mother, I will drive her to town." So he threw 
the rope over the cow's head and took her away. 

As he was driving the cow along, he met a butcher, who 
said, "Where are you taking that cow?" 

"I'm taking her to town to sell her," said Jack. 

"Sell her to me," said the butcher. "I'll give you these 
wonderful beans for her," and as he said this he showed Jack 



208 THE HALIBURTON TEACHER'S MANUAL 

his hands full of beans that were of many different bright 
colors. Jack looked at them and cried, "My, but they are 
beautiful! Here, take the cow and give me the beans." 

He handed the rope to the butcher, held out his hat for 
the beans, and ran back toward his home. 

When he came near the house he called out, as he ran: 
"Oh, Mother! Just look at these wonderful beans! I sold 
our cow for them. Take them in your apron, Mother!" 
And he held them out toward her, as he cried, "See, they 
have all the colors of the rainbow!" 

The poor woman could hardly believe her ears. 

"What!" she cried. "You sold our cow for a few beans, 
when we have nothing to eat? You silly, silly boy!" 

Catching the beans in her hand she threw them through 
the open window, as she cried angrily, "There! that's what 
I'll do with your wonderful beans!" Then she threw her 
apron over her head and cried out loud. Jack looked toward 
the open window and said sorrowfully, "Oh, why did you 
throw my wonderful beans away, Mother?" 

His mother took the apron from her face and said, still 
more angrily, "Don't talk to me! Get to your bed and stay 
there, you silly, silly boy!" Then she threw her apron over 
her head again, and, still crying, she left the room. Jack 
went sadly to his bed and lay there until he fell asleep. 

Next morning when he waked, the room seemed very 
dark. He sat up, rubbed his eyes, looked around the room, 
and then looked at the window. 

"How dark the room is!" he said to himself; "yet it must 
be morning." Just then he noticed that the thickly grow- 
ing leaves of a vine were keeping the light from coming 
through the window, and he exclaimed aloud, "Why, look 
at those leaves! How do they come to be growing over 
my window? I will run out and see." He jumped up, 
ran out and saw a great bean vine growing just outside his 



LESSON PLANS AND TYPE LESSONS 209 

window. He ran toward it and, throwing his head back, 
tried to see the top of the vine. 

"Oh, what a wonderful beanstalk!" he cried. "It is like 
the trunk of a tree! Why, it's so tall I can't see the top of 
it!" Then he called out: "Mother! Mother! Come and 
see this wonderful beanstalk, that is higher than the 
house." 

His mother came running toward the beanstalk, looked up 
as far as she could see, and cried in amazement: 

"Why, how strange! How ever did this large plant get 
here, Jack? I never saw a vine here before." 

"It must have come up in the night, Mother, from those 
beans you threw away. May I climb the beanstalk, Mother? 
I should like to see how high it goes." 

But the poor woman, who had managed in some way to 
get a little money, said: "Wait, Jack. I am very hungry. 
Go get something for breakfast, and then you may climb 
this wonderful beanstalk." Jack ran to do his mother's 
bidding and she went to make a fire to cook their breakfast. 

After the breakfast was eaten, Jack ran to the wonderful 
beanstalk and began to climb it. Up, up, he went, climb- 
ing higher and higher yet, until he was out of his mother's 
sight, away up in the sky. 

At last he got to the top of the wonderful beanstalk and 
saw stretching before him a strange bare road, full of great 
stones. Jack was very tired from such a long climb, but 
he didn't stop to rest long. With hands on hips, he walked 
along the rocky road and then stopped to look around. 

"My!" he said, drawing a deep breath, "how tired I am 
after climbing that beanstalk! I climbed, and I climbed, 
and I climbed. And here I am, at last, at the top. What 
a strange place it is, to be sure ! I will walk along this road 
and see where it goes." 

As he was walking along, he saw an old woman standing 



210 THE HALIBURTON TEACHER'S MANUAL 

in front of a very large house. "What do you want here, 
boy?" said the woman. 

"Something to eat, if you please," said Jack; "I have 
come a long way, and I am very hungry. Won't you give 
me some bread?" 

"You'd better go away," said the old woman. "A cruel 
giant lives here. He will eat you up, if he sees you; and 
he will beat me, if I give you anything. Everything you 
see here was once mine. But the giant took it all from me." 

Just then they heard the sound of heavy walking behind 
them. The woman turned her head to see who it was and 
began to tremble all over with fear. "Here comes the giant 
now!" she whispered excitedly. "Oh, what shall I do?" 

Then she pointed to a large brick oven near them and 
cried in a low voice, "Hide in this oven, boy. There is 
no fire under it. Jump in!" 

Jack quickly hid himself in the oven whence he peeped out 
at a great, ugly giant, who came walking heavily. 

The giant stopped near the oven, and began sniffing the 
air as he looked around the room. 

"Fee, fi, fo, fum! I smell the blood of an Englishman!" 
said the giant in his terrible voice. 

The woman pointed toward a door and said in a frightened 
voice, "You may smell the blood of that sheep behind the 
door that you killed for breakfast." 

"Well, it may be the sheep's blood," said the giant in a 
harsh, rough voice. "But go and get my golden harp. 
I will sit here and count the golden eggs that my hen laid 
for me. Then you are to go and cook my breakfast. Cook 
the whole sheep, for I am hungry." 

The woman left the room, and the giant sitting down by a 
table began to take some golden eggs from his pockets, 
counting them as he laid them down on the table. While he 
was doing this, he fell asleep and began to snore so loudly 



LESSON PLANS AND TYPE LESSONS 211 

that the house shook. Just then the old woman came in with 
the harp. When she saw that the giant was asleep, she 
tiptoed to the oven and whispered to Jack, who started 
to speak: "Hush-sh-sh! Take this harp, boy. Now get 
those golden eggs. My hen laid them. Take them and 
run for your life, but be careful not to wake the giant. If 
he catches you he will kill you." 

"Thank you! Thank you!" said Jack in low tones. He 
took the harp, climbed out of the oven, tiptoed to the table, 
and put the golden eggs into his pockets. Then he ran off. 

Just as Jack started off, the giant waked with a last big 
snore and looked on the table for his golden eggs. 

"Where are my golden eggs?" he cried at the top of his 
voice. Then he caught sight of Jack running down the 
road with his golden harp. "Who is that running off with 
my harp?" he roared angrily. "Let me catch him, and I'll 
eat him up." Then he jumped up and ran after Jack, who 
was just passing out of sight down the road. 

Jack reached the top of the beanstalk long before the giant 
did, and holding the harp under one arm he caught hold of 
the beanstalk and went sliding down the stalk almost as 
fast as lightning. 

Long before he reached the ground, he shouted to his 
mother, "Run, Mother! bring me the ax!" His mother 
caught up the ax and ran with it to the foot of the wonderful 
beanstalk. As Jack touched the ground, he gave the harp 
to his mother and then told her to hold out her apron, into 
which he emptied his pockets of the golden eggs. 

Then Jack began to cut down the beanstalk. It soon fell 
to the ground with a sound like thunder. The giant must 
have fallen with it and been killed, since he was never seen 
or heard of again. Jack's mother felt very proud of him as 
she stood looking down at the wonderful beanstalk stretched 
upon the ground. She held the golden harp in one hand 



212 THE HALIBURTON TEACHER'S MANUAL 

and her apron full of golden eggs with the other while she 
watched Jack, who still held the ax. 

"There!" he said, pointing to the beanstalk. "I have 
cut down the wonderful beanstalk. I just had to do it. If 
I had not, that giant would have come down and eaten me. 
It is well for me, Mother, that you heard me call, and that 
you had the ax ready. How fast I had to slide down that 
beanstalk!" 

"Yes, I am very glad I heard you, Jack. But where did 
you get these golden eggs, and this beautiful golden harp, 
that makes such sweet music by itself?" 

"I took them from the giant. The old woman told me to 
do so. I just wish you could have heard that giant snore!" 

His mother looked first at the golden harp and then at the 
golden eggs. "Oh, Jack," she said, in delighted tones, "now 
we can buy the little red cow again. And we can have a 
fine new house to live in. These golden eggs will make us 
rich all our lives." 

"Yes, Mother," said Jack, "and the harp will play every 
day, and we shall be happy, always." 

A Real Santa Claus, Pages 66-67 

The picture accompanying this poem is suggestive of what 
the teacher's preparatory talk should be about : old-fashioned, 
wide fireplaces and chimneys, the belief that Santa Claus 
traveled down these chimneys, the time-honored custom in 
this country of hanging stockings by the chimney to hold 
the gifts left by Santa Claus. 

The talk should branch off naturally into the joys of 
Christmas, the time to which people are looking forward 
with delightful anticipations. Into this talk the teacher 
should bring the more serious side of Christmas, the fact that 
there are hosts of children the world over who never hang 



LESSON PLANS AND TYPE LESSONS 213 

up their stockings, perhaps have no stockings — only poor 
worn shoes to wear; who never see any pretty toys except 
as they pass the windows of the toy stores or shops; who 
never have good things to eat, even at Christmas; who never 
have any of the merry times that more fortunate children 
have, but for which they so long that they sometimes dream 
about them, only to wake in their bare cold rooms and find 
that it was only a dream. 

Without any moralizing or "preaching" in„ such discus- 
sions, the teacher can touch the tender hearts of her pupils 
and drop many a seed which will later blossom into acts of 
kindness and true benevolence. She must remember, how- 
ever, how extremely imaginative and impressionable young 
children are, and should be careful to keep her suggestions 
sketchy and give no graphic pictures of misery. 

After some such talk, the teacher may return to the study 
of the picture, and suggest the thought of the poem to be 
studied in some such way as the following: 

"You have told me what you see in this picture and what 
you think the boy is doing and saying. I think you are 
right in supposing that the boy is in a comfortable home 
where he has everything to make him happy. But / don't 
think he is asking Santa Claus for things he wants himself. 
I think he is telling Santa Claus that he is hanging up two 
stockings, one for himself and one to go to another boy he 
knows — a very poor boy who has no stockings and only the 
poorest sort of old worn-out shoes. 

"I think he is telling Santa about the old chimney in this 
poor boy's house down which Santa has never traveled to 
take gifts to the poor boy. I think he is telling Santa Claus 
about the room he'd find if he did go down that poor boy's 
chimney, — a room all cold and bare, with no soft carpets 
or rugs on the floors, no thick curtains at the windows, no 
soft comfortable chairs; he'd see only a broken bed, and he 



214 THE HALIBURTON TEACHER'S MANUAL 

tells Santa Claus that in that bed he'd see a boy asleep, who 
is just about the age and size of the one who is talking up 
the chimney — a poor boy dreaming of the pretty toys he 
had seen in the windows and which he knew would be given 
to other boys, dreaming of what a merry Christmas those 
other children would have, and how it is only when he is 
dreaming of other children that Christmas ever seems merry. 
Then this kind little boy begs Santa Claus to stuff the stock- 
ing he is hanging for the other boy with all that that boy 
dreams of, and he says that when the stocking is filled to the 
brim, he will play Santa Claus to the poor boy, that is, he 
will take the stocking full of gifts to him, and in that way be 
a real Santa Claus to the poor boy." 

The teacher may then say, "I have told you in one way 
what this boy is saying, but Frank Dempster Sherman, the 
poet, has told it all in a much more beautiful way. I will 
read it as he has told it; then you may read it for me, and 
when you can read it well, you may read it to your parents, 
who will like it as much as I do." 

This poem lacks the swing that characterizes most poetry 
written for children. It is not an easy poem for children 
to read aloud unless they are led at the beginning to see 
that each two lines should be read as one long line, thus : 

"Santa Claus, I hang for you, by our chimney, stockings 
two, 
One for me and one to go to another boy I know. 
There's a chimney in our town you have never traveled 
down," etc. 

It might be well for the teacher to write the poem on the 
the blackboard as given above, and let the children read it 
in that form before attempting to read it from the book. 
Of course, the pupils grasp the central meaning or truth of 
this poem after the teacher's talk. 

If not dwelt upon too long, the appeal which the poem 



LESSON PLANS AND TYPE LESSONS 215 

makes to the sympathy of the children will arouse their best 
emotions and the desire to become a real Santa Claus. 

The words listed for drill at the bottom of page 67 empha- 
size the sound of the letters au in the phonogram ause, the 
terminal ed, and the short sound of e before two r y s. 

Christmas Holidays, Pages 68-69 

This lesson embodies the spirit that characterizes the 
activities of most schoolrooms just before Christmas. 

An outline somewhat like the one given below may be 
written on the board as a guide to the pupil's silent reading 
of what he is to reproduce later in his own words, or read 
orally. 

Tell 1 . what the children of the Second Grade made; 

2. what they were to have; 

3. what they were to bring; 

J±. what the boys were to do and what the girls were to do; 

5. how the room and the Christmas tree looked; 

6. what the children and their teacher did. 

In this lesson, as in the last, the teacher's unspoken aim 
should be to awaken in her pupils the true Christmas spirit, 
— the spirit of giving to those who have little or nothing. 

The words listed for drill at the bottom of page 69 empha- 
size the sound of ar in the phonogram, or family, ark, also 
the terminals en and ened. 

The Silver Cones, Pages 70-73 

Before having this lesson read, the teacher should find out 
what the children know of coniferous (cone-bearing) trees, 
such as the pine, the hemlock, the fir, etc. 

An evergreen branch and a cluster of brown cones, with 
pictures and descriptions of fir trees and their cones, should 
be displayed by the teacher during the preparatory talk, 



216 THE HALIBURTON TEACHER'S MANUAL 

before the story is touched upon. There will then be no 
danger that the children's only conception of "silvered cones 
upon the Christmas tree" really meant silvered ice cream 
cones, as was found to be the case when one class was 
questioned after the story had been read! 

From such description and pictures, from the real branch 
and cones, the teacher may naturally and easily pass to a 
brief description of "the country across the sea," with its 
great mountains where hardworking miners live, and where 
the evergreen firs bear loads of dark brown cones, rich with 
gum and rosin, which make most delightful fires if gathered 
at the right time and kept for this purpose. 

A passing reference should be made to the good Saint 
Nicholas who does for the boys and girls in that country 
across the sea what Santa Claus does for our boys and girls. 

Then the class is ready for the outline upon the black- 
board : 

Read the lines that tell 

1. about the country across the sea, and what you would see 

there at Christmas; 

2. about a poor miner, his wife and little girl. 

3. Read the lines that tell where Hilda was going, that day 

before Christmas Eve, and why she was going there; 
J^. what Hilda said to herself; 

5. whom she saw and what he said; 

6. what Hilda said and what happened to her; 

7. what she found when she reached home; 

8. what Hilda and all the miners said; 

9. what Hilda did with her cones; 

10. how the people of that country show that they have never 
forgotten kind Hilda. 

After the lesson has been read, the teacher may discuss it 
with the class, as follows: Was the miner who cared for 
Hilda rich or poor? Was it easy for him to buy her clothes 



LESSON PLANS AND TYPE LESSONS 217 

and food? Was he ever repaid for being kind to the little 
orphan girl? What if he had said, "I have enough children 
of my own to care for. Hilda is not akin to me or my family. 
Why should I work for her? Let someone else take care of 
her, I shall not do it?" 

Does it pay to be kind to those who are poor and helpless? 

Was Hilda grateful to the miner who let her live with him? 
Can you turn again to the lesson and find the lines that tell 
that Hilda was grateful to the miner? Was Hilda polite as 
well as grateful? To whom was she polite? Read again 
the lines that tell that she was polite. What if Hilda had 
said, "I work at the miner's house; that is enough for me to 
do. I don't care if his children don't have anything for 
Christmas"? What if she had spoken rudely to the old 
white-haired man? She didn't know it was Saint Nicholas 
talking to her. What if she had felt angry when the big 
cones began to come down upon her? Do you suppose the 
story would have ended as it did? 

The words listed for drill at the bottom of page 73 empha- 
size the change of the terminal y into i before es or ed is added. 

The Wonder Flower, Pages 7^-79 

The big thing or central truth in this story is evident to 
the teacher from her first reading of it; it is all that is found 
in Carl's character, — his love for his home and for his 
mother, his spirit of self-sacrifice and unselfishness, his 
determination and bravery. 

The teacher can easily lead the pupils to discover for them- 
selves the heart of this story. To do this they must inter- 
pret through their own lives the truth taught by the story. 
In other words, the teacher must connect the heart of this 
story with the children's own experience, by taking the child 
into his own life, by asking questions which the child can 



218 THE HALIBURTON TEACHER'S MANUAL 

only answer by recalling his own past experiences. The 
teacher may ask: "When you love anyone very much, how 
do you show it? Yes, by doing the things you know they 
wish you to do; by helping them in every way you can. But 
suppose in doing something for one you loved, you placed 
yourself in great danger, — ran the risk of getting hurt or 
perhaps killed — would you do it anyway? 

"We are to read to-day about a boy who lived in a coun- 
try called Switzerland, far away across the sea. The moun- 
tains in Switzerland are very, very high and it is dangerous 
to climb them, especially in winter when they are covered 
with ice and snow. This little boy was named Carl. He 
was a shepherd boy; that is, a boy who herded or took 
care of sheep. No doubt you would like to know what kind 
of boy Carl was. You may tell me what you think of him 
after we have finished reading the story." 

The story falls naturally into three parts: 
I. Carl's daily life and work. 
II. Carl's great trouble and his dangerous journey. 

III. Carl's reward. 

Study of the Lesson. — (The children read silently pages 
74 and 75 (Part I) . Then the teacher should question them.) 

Was Carl a rich boy? How do you know he was poor? 
What did he and his mother own? What good did the little 
garden do them? What help to them was a goat? (Took 
the place of a horse and a cow; goat's milk used by poor 
people.) Did Carl love his home? Do you think his home 
was in a beautiful country? What made it beautiful? 
(Shining river, green forests, high mountains.) Did Carl 
love these beautiful things? What other beautiful things 
did he love? Where did he find the beautiful flower growing? 

Do you love flowers? Carl loved them more than most 
of us do. He would rather have had a beautiful rare flower 
than anything else. By rare flower, we mean one not often 



LESSON PLANS AND TYPE LESSONS 219 

seen, one hard to get; one growing in very few places. There 
are people who will walk miles to get a rare flower, or even 
to see one. I think Carl must have been like that. 

What did Carl do every morning? What did he do all 
day? I wonder if he were lonely away off there by the river 
with no one to talk to. Did he have anything besides the 
sheep to keep him company? What did he have? When 
night came, what did Carl do? 

After he put the rich man's sheep in their fold, where did 
he go? What is meant by "at the foot of the mountain"? 

What did Carl do when he reached his little home? 

What about Carl's mother? Why did she have to spin 
so much? (To make thread out of which to weave clothes 
and bedclothes for Carl and herself; to make thread to 
sell.) 

Did Carl love his mother very much? Why do you think 
so? How did he show it? Was there anything else he might 
have done to show how much he loved her? We shall see 
about this. You find that Carl and his mother were very 
poor. Was Carl a happy boy? Why do you think so? 
(What made him happy, although he was poor and had to 
work hard, was that he was contented and always helpful 
to his mother and made her happy.) 

Part II: CarVs great trouble and dangerous journey. — 
(Children read silently pages 76 and 77 and two lines on 
page 78.) 

We have read the happy part of this story, but there is 
a sad part, too ! Carl had a great trouble and he did a very 
brave thing. I know you'd like to know all about this and 
I'd like to know what you think of Carl after reading this 
part of the story. 

Were you ever out in the cold when the rain was freezing 
and the wind blowing as if it would cut your face to pieces? 
I don't suppose you ever were, at least not for many minutes. 



220 THE HALIBURTON TEACHER'S MANUAL 

Can you imagine how it feels, or how you would feel, if you 
had to be out in such weather for hours and hours? Did 
you ever try to climb a mountain or a very high hill? Do 
you think you could do it if the hill or mountain were covered 
with ice and snow? Think how hard it is to walk along on 
level ground when the wind is blowing very, very hard, and 
the rain is freezing as it falls upon the ground. 

Can you shut your eyes and see Carl climbing the moun- 
tain? Can you imagine how he felt as he climbed on and on, 
up that snow-covered mountain with the wind beating him 
in the face and almost freezing his hands and feet? Do 
you suppose that Carl knew before he started what a hard 
thing he would have to do? Why do you think he knew? 
(He had lived at the foot of the mountain all his life, had 
often seen it covered with snow, knew how steep it was.) 
Who can find the sentence that tells what a dangerous thing 
Carl was to do? (But the snow was very deep on the moun- 
tain, etc.) What might have happened to Carl? (Might 
fall and kill himself, or freeze to death.) Did he think about 
himself? What was the one thing he was thinking about? 
What happened on his way up the mountain which showed 
that he thought only of getting that plant which would cure 
his mother? Did he want very much to pick the wonder 
flower? If he had done so, do you think he would have 
found the little brown plant? Why would he have been 
apt to miss it? (Busy watching beautiful flower and caring 
for it.) Do you believe if he had thought only of himself 
that he would ever have seen the beautiful flower? 

How do you suppose he felt as he hurried down the moun- 
tain? What do you think of Carl now? Can you tell in 
your own words what kind of boy Carl was? Do you think 
Carl wanted to be rewarded or paid for doing what he did 
for his mother? What did he want more than anything 
in the world? (To see his mother well.) Yes, I think he 



LESSON PLANS AND TYPE LESSONS 221 

did. Let us see whether Carl got what he wanted — whether 
he received a reward for his unselfishness and bravery. 

Part III: CarVs reward. — (Children read silently the 
remainder of page 78 and page 79.) 

What was the first reward that Carl received for under- 
taking this dangerous journey? (Saw wonder flower.) Was 
he glad to have seen that wonderful flower? Do you suppose 
many people had seen it? Why not? Read the lines that 
make you think so. (It blooms only at Christmas time, 
once every hundred years, etc.) Who were the only people 
who ever saw it? What do you think is meant by "pure 
hearts"? How had Carl proved that he had a pure heart? 

What was the next reward that Carl received? (Found 
the brown plant.) What was the third reward Carl received? 
(Treasures of gold and diamonds.) What was the thing that 
made Carl happiest of all? 

Words for drill at bottom of page 75 emphasize the terminal 
tain (sounds as if written tin) and the terminal er. Those 
on page 77 emphasize the sound ar and ge and the terminals 
est and ly. Words for drill at bottom of page 79 emphasize 
the sound of ee and short ea, the terminals ed and ure. 



The Christmas Bells, Pages 80-83 

Before the children read the story of "The Christmas 
Bells," they may be well prepared for the mood of this story 
by the teacher reading — or better, telling — the story of 
the widow's mite, told so beautifully and simply in Mark 
xii: 41-44. Also, if the teacher wishes to do so, the children 
may be given at the language period the story of "The Gift 
Scale," found in the Plan Book for February 19. 

The story of "The Christmas Bells" falls naturally into 
five short divisions: 



n% THE HALIBURTON TEACHER'S MANUAL 

I. The three wonderful bells. 

II. What the people thought and said about the bells. 

III. The two little brothers on their way to church. 

IV. The rich people's altar gifts. 
V. Why the bells rang. 

Preparatory Talk. — How many of you have ever listened 
to several different church bells ringing at the same time? It 
is a very beautiful sound, sometimes. The bells do not all 
sound alike. Some of the bells — the largest ones — have 
a deep sound, Clong! clongl clongl Others not so large do 
not make quite so deep a sound. They sound more like 
Clang! clang! clang! and the smallest bells have a clearer, 
sweeter, lighter sound, more like Cling! cling! cling! 

Sometimes the church bells are rung on Christmas Day, 
and it does seem that they should always be rung on that day. 

In Spain, a country across the sea, they tell a beautiful 
story about three wonderful bells — a big bell, a middle-sized 
bell, and a small bell. These bells hung in the tower of a 
beautiful church and they used to ring of themselves every 
Christmas Eve — no one touched them, but all at once they 
would begin to ring. 

After a while they ceased to ring on Christmas Eve. For 
years and years no sound came from the bells, till, after 
having been silent for a long, long time, they rang again 
one Christmas Eve, and this made the people all wonder 
what caused the bells to ring again. You may read the 
story and then you will see if you can tell what caused the 
bells to ring again. 

The class may read silently and then reproduce the story, 
following the outline given below: 

/. The wonderful bells. 
(1) Where they hung. 
{2) The sound they made. 



LESSON PLANS AND TYPE LESSONS 223 

(3) What the people thought about the bells. (Here the 
picture on page 85 should be studied, as it 
represents the idea of angels ringing the bells 
of Christmas.) 

77. The two little brothers. 

(1) Where they were going. 

(2) What they said to each other. 

(3) What they had done all year. 

Q) What they had done with their pennies. 

(5) What they found in the snow. 

(6) What they said to each other and where each went. 

III. The people in the church. 

(1) What the little brother saw in the church. 

(2) What the priest did. 

(3) What the king did, the queen, and all the rich people. 

IV. The brothers' altar gift. 

(1) What the little brother did. 

(2) What happened. 

(3) What the people cried out. 

(4) What the little brother said. 

(5) The people wondered why the bells rang. 

After reading the story the children may be allowed to 
give their own ideas as to why the bells rang. 

Having heard the story of the widow's mite, they will 
naturally apply it to this story. 

Christmas Carol, Page 84 

The meaning of "angels in heaven" and of "souls on earth" 
will not be difficult for the children. The teacher uses the 
phrases in her reference to what beings in heaven are full of 
praise for Him who came to us at Christmas and why "souls 
on earth" should sing and rejoice. 



224 THE HAL1BURT0N TEACHER'S MANUAL 

This old carol should be read in concert by teacher and 
pupils and sung if the words have been set to music that the 
class knows. 



The Glad New Year, Page 86 

The teacher's talks with the children about the approach- 
ing Christmas lead naturally to a discussion of the New 
Year so soon to follow. It will most probably not be spent 
in the schoolroom, but will be included in the holidays which 
the children will spend at home. Therefore, what the 
teacher says about it will be best said just as the school closes 
for Christmas and the holidays, or just as soon as the children 
begin school again after Christmas. Without any "preach- 
ing" the teacher should try to arouse in her pupils the feeling 
that the coming New Year offers a grand opportunity to 
begin again more hearty striving to do well, to live well, 
better than ever before; that we should be glad to have 
another opportunity to make a fresh start; that it is not a 
time to give way to sadness for any failure we have made 
during the old year; that the New Year should be a time 
to gain good for ourselves and to give to others loving 
thoughts, kind words, and helpful deeds. 

In such a talk the teacher may develop such unusual words 
as striving, thriving, etc. 

The Twelve Months, Pages 87-93 

The central idea of this story is found by comparing the 
characters of the two sisters, the unkindness and rudeness 
of Katinka compared with the gentleness and politeness of 
Dobinka. This comparison will grow in the children's 
minds as they read, and should be more firmly impressed 
by the closing discussion of the lesson after it has been read. 
The story falls into two main divisions, with several sub- 



LESSON PLANS AND TYPE LESSONS 225 

divisions of each, which should be developed during the prog- 
ress of the reading lesson. The main divisions are: 
I. Dobinka's three journeys and their results. 

II. Katinka's journey and its^result. 

As to preparing the children for reading this lesson, the 
teacher will have begun to do this incidentally long before 
the time arrives for the reading. In her "nature talks," or 
"morning exercises," the teacher will have given the children 
a pretty clear notion of the four seasons, fall or autumn, 
winter, spring, and summer. 

If the pupils live far in the south, where the characteris- 
tics of the four seasons are not so marked as they are farther 
north, they should be told enough of such phenomena to 
enable them to visualize the changes of the seasons, and the 
general appearance of each, such as the snowdrifts that make 
a white world in the winter; the freshly growing grass that 
makes the world so green in the spring; the glow of ripening 
grain and fruits, that give the rich yellow tones of summer; 
the varied shades of green and yellow and red that are found 
in the flowers and leaves of autumn. 

The names of the months of the year should be known by 
all children before they are ready for the Second Grade. 

The teacher may naturally and easily develop, in her talk 
just before the reading lesson, the words listed as new for 
this lesson, as well as the more difficult phrases. 

Preparatory Talk. — Suppose we were to dress each month 
in a long cloak or mantle — (writes mantle) ; of what color 
should the mantles for the winter months be? Yes, white, 
like the snowdrifts. (Here the teacher may sketch on the 
blackboard, or show a sketch already made, of three figures in 
long white robes with hoods. These are to represent the 
three winter months.) 

Of what color should we make the mantles and hoods of 
the spring months? Yes, green like the grass in spring. 



226 THE HALIBURTON TEACHER'S MANUAL 

(Three figures in mantles and hoods of green may be sketched 
to show the spring months.) 

Of what color should the mantles of the summer months 
be? Yes, yellow like ripened fruit and like sheaves of yellow 
wheat. (Three figures in yellow mantles and hoods may 
next be sketched). Of what color should the mantles of 
the fall be? Yes, red, yellow, and green, like the leaves of 
autumn trees. (The last sketch may show three figures in 
mantles and hoods showing the autumn colors.) 

At certain seasons of the year we expect to find things 
blooming or growing which we do not find at other seasons. 
When do flowers bloom? Would it be reasonable to expect 
to find spring flowers growing out of doors when snow is on 
the ground? In what season are wild strawberries found 
growing and ripening? Would it be reasonable to expect 
to find them ripening in winter? 

Suppose someone should send you to find spring flowers 
or ripe strawberries in the winter woods, or to do something 
else that you knew you couldn't do, what should you think 
of such a demand? Shouldn't you think the one who made 
it was very unreasonable? 

You know what it is to be polite. Do you like people 
who are polite? Are polite people generally kind to other 
people? Do you think it pays one to be polite and kind? 
We shall speak of this again after you have read this story. 

This is the story of two little Russian girls, — sisters, who 
had Russian names, of course. They are harder to pronounce 
than your names, but when I show you how they are pro- 
nounced, I think you will like to say them : Do bin ka and Ka 
tin ka. (Writes the names and pronounces them slowly.) 

The two main divisions of the story and their subheads 
may be written on the board for an exercise in silent reading 
or for a study lesson as follows : 



LESSON PLANS AND TYPE LESSONS 227 

I. Dobinka' s three journeys and their results. 
Read the lines that tell about 

(1) the two little girls, Dobinka and Katinka, and their 

mother; 

(2) Katinka' s first demand of Dobinka; what they said 

to each other; 

(3) Dobinka's first journey; what she saw; what was 

said by Dobinka and to Dobinka; what happened; 
what Dobinka received; what she did with them; 
U) Katinka' s second demand of Dobinka; what they 
said to each other; 

(5) Dobinka's second journey; what she saw; what was 

said to Dobinka and by Dobinka; what happened; 
what Dobinka received; what she did with them; 

(6) Katinka' s third demand of Dobinka; what they said 

to each other; 

(7) Dobinka's third journey; what she saw; what was 

said to Dobinka and by Dobinka; what happened; 

what Dobinka received: what she did with them. 
II. Katinka' s journey and its results. 
Read the lines that tell 

(1) what Katinka said and where she went; 

(2) what she saw; 

(3) what was said to Katinka and by Katinka; 

(4) what happened; 

(5) what became of Katinka. 

After the oral reading of the story, it should be discussed 
briefly, somewhat as follows: What kind of girl was Dobinka? 
How did she treat Katinka? How did she speak to the 
Twelve Months? What did Dobinka gain by being kind 
to Katinka and polite to the Twelve Months? (Got the 
help of the Twelve Months so that she found the violets, 
the strawberries, and the apples.) What kind of girl was 
Katinka? What did she lose by being unkind and impolite? 



228 THE HALIBURTON TEACHER'S MANUAL 

(Lost the help of the Twelve Months; failed to find anything; 
lost her way home.) Did Katinka deserve her punishment? 
Why? Is it right that one who does wrong to another 
should suffer punishment for it? 

Of what do you suppose Katinka thought when she was 
all alone in the wild woods, lost in the darkness of the stormy 
night? Don't you suppose she thought of how unkind she 
had been to her sister? I hope she was sorry, don't you? 

The Snow, Page 94 

As a preparation for reading the poem, the pupils' observa- 
tions of falling snow should be recalled. If they have had 
no such actual experiences, the teacher's description of a 
snowstorm, supplemented by good pictures, must make it 
all so real to the children that they become able to visualize 
a snowstorm and ready to enjoy the poem. 

The words listed for drill at the bottom of page 94 empha- 
size the terminals ly, er, and est. 

The Eskimos, Pages 95-100 

Nature lessons on the animal life of the Far North, with 
pictures of the life and habits of the white bear, the seal, the 
walrus, the whale, the reindeer, the Eskimo dog, the polar 
seabirds, etc., are given in most Second Grades. Through 
the medium of these pictures and descriptions the pupils 
should be enabled to visualize the country, rocky, snow- 
covered land, bare of trees, vines or flowers, and to imagine 
somewhat the intense cold, the deep snow and thick ice that 
never melt, the frozen ground that never thaws, and the 
fierce winds that cut the face and freeze the breath when one 
ventures out. 

The kinds of houses and the furniture, the dress and habits 
of the Eskimos, should also be described for the children. 



LESSON PLANS AND TYPE LESSONS 229 

The teacher should relate the story of the Arctic day, 
describing the appearance of the first sunrise after months of 
darkness, the light that lasts but a minute, the day that is 
only a minute long, but which, with every return of the sun- 
rise, grows longer and longer until the sun sets no more for 
weeks and weeks; this is the Eskimo's long day, which is at 
the same time their summer. She should describe the small 
delicate flowers, the fresh ripe berries that last only a short 
time, passing away when the short summertime — the long 
day — is over; the nights that grow longer and longer as 
the days grow shorter and shorter, until the long night of 
winter returns. From these descriptions and from pictures 
the children may obtain some idea of the brilliant stars that 
do not set, the bright moon that circles round and round the 
horizon, neither setting nor rising for weeks, the wonderful 
and mysterious northern lights that blaze and glow and 
fade, to flame and fade again during the long winter night. 

Such preparation must, of course, be carried on for some 
time before the pupils are ready to read these pages in their 
Reader. When they are ready for the study lesson or silent 
reading, the teacher may give the following outline: 
I, Playing Eskimo. 

Read the lines that tell 

(1) what happened one night; 

(2) what Miss Brooks did next day; 

(3) what the children did at recess. 
II. About the Eskimos. 

(1) Tell something about the Far North where the Es- 

kimos live. 

(2) Of what do Eskimos build their winter houses? 

their summer homes? 

(3) Describe an Eskimo winter home. 

(4) Tell what is in an Eskimo's winter house. 

(5) How do Eskimos travel? 



230 THE HALIBURTON TEACHER'S MANUAL 

(6) How do the men spend their time? 

(7) On what kind of meat do the Eskimos live? 

III. Eskimo Children. 

(1) Tell about the Eskimo boys' games and play. 

(2) Tell about the Eskimo girls' dolls and their play. 

IV. The Long Day of the Far North. 

(1) Tell about the time for sunrise. 

(2) Tell how the short day grows longer and longer. 

(3) Tell what the little Eskimo girls do during the long 

day. 

V. The Long Night of the Far North. 

(1) Tell about the sun rising later and later. 

(2) What begins then? 

(3) Tell about the night as the Eskimos see it in 

the Far North. 

The Snowbird, Page 101 

The snowbird is not so familiar a sight to the children in 
the south as it is to those in the more northern sections of 
our country. But everywhere it is a common sight to see 
little birds hopping about, picking up crumbs of bread or 
cake or other things scattered on the ground. Teachers 
everywhere can call their pupils' attention to the eagerness 
with which the little birds pick up bits of bread, crumbs of 
cake, etc., the happiness they seem to feel in their freedom 
to walk about on their little bare feet, which make such 
pretty, pointed, star-shaped tracks in the soft moist sand, 
or mud, or snow. The teacher reads the poem aloud before 
it is read by the class. 

The words given for drill at the bottom of page 101 
emphasize the changing of the letter y into i without chang- 
ing the sound before the terminals er and est. 



LESSON PLANS AND TYPE LESSONS 231 

Making Valentines; Saint Valentine's Day, Pages 102-104 

These two lessons may be treated as parts of the same lesson. 

The work described in the first part of the lesson is a kind 
of hand work done by the pupils in most of our schools before 
Saint Valentine's Day. Since this is the case, little or no 
preparation is necessary for the reading of this lesson. The 
outline on the board may be as follows: 

/. Making valentines. 

(1) When we make valentines; 

(2) What each valentine may have on it; 

(3) What each valentine should be; 

(4) Why we put pictures of birds, butterflies, and flowers 

on valentines; 

(5) When valentines are sent; 
{6) About butterflies and birds; 

(7) What people once thought about birds on Saint Val- 
entine's Day. 

II. Saint Valentine's Day. 

(1) Who Saint Valentine was; 

(2) Who loved him and why they loved him; 

(3) What he did when he became too old to go about; 
(it) When we keep his "birthday." 

A Valentine, Page 105 

This poem makes a strong appeal to children as the speech 
of a little brother to his baby sister at Valentine's time. 

He calls her "little loveliest lady mine." He asks her 
what he shall send her for a valentine. He tells her that 
summer time and flowers are far away, that gloomy old 
winter is king. (The teacher explains what that means.) 
He says that flower buds will not bloom, or blow, and that 
the sun will not shine. Then he asks himself what he shall 



232 THE HALIBURTON TEACHER'S MANUAL 

do for a valentine. He wishes to send a valentine that will 
tell his little sister of his love for her, his love which is so 
true. He says he has searched the garden through and 
through for even a bud to tell of his love so true, but that 
the buds are asleep and the blossoms are dead. It's cold 
winter weather and the snow beats down on his head. At 
last he tells her he gives her all his love, and his heart for a 
valentine, and as he takes her up in his arms, he calls her 
again "little loveliest lady mine. ,, 

The teacher reads the poem aloud to the children, after 
which they will enjoy reading it themselves. 

Bird Thoughts, Page 106 

The pupils who live in the country or in one of the smaller 
towns are doubtless familiar with and much interested in 
the hatching of a brood of chicks. They have watched the 
hen going to and from her nest of straw where lay her increas- 
ing treasure of white eggs. They have observed her as she 
sat brooding those same white eggs, keeping them warm 
beneath her softly feathered breast; they have hailed with 
delight the sound of the faint peep of the first chick of the 
brood to burst its shell, and have listened to the peck! peck! 
of another, unhatched, trying to make its way out of the 
shell. Country children know something of the life that is 
imprisoned within each shell. They may have seen the 
weakling emerge from the shell and then, a downy beautiful 
little creature, cuddle within the confines of the nest from 
where it gazes with bright, wondering eyes over the straw 
rim of the nest into the chicken-yard beyond. Finally they 
have seen the chicks running behind the mother hen out of 
the nest, out of the chicken-yard into the roads and fields 
beyond, out into the world. 

But if her class is composed of city children, the teacher 



LESSON PLANS AND TYPE LESSONS 233 

must make up for their lack of experience by talks on the 
life of a chick, then of a birdling from the time it begins to 
stir within the eggshell till it flies from the nest into the sur- 
rounding leaves of the tree and from there out, beyond the 
tree, into the world. 

Study Discussion. — Then, drawing nearer to the lesson, 
the teacher puts such questions as the following: 

What can the birdling see while it is shut up in that little 
blue shell? If he wondered at all, he must have wondered 
what that was all around him, close to him, touching him. 
That was his world, the only world he had ever known. Of 
what do you suppose he thought his world was made? 

Do you suppose he knew about anything that was outside 
of the shell? How did he get out of the shell? Where did 
he find himself then? Do you suppose he liked his new world 
any better than the other? Of what was the nest made? 
Of what do you suppose the birdling now thought his 
world was made? Who were the only people in his world? 

What do young birds soon try to do? How far do they 
fly at first? As the birdling sits on the branch of a tree, sur- 
rounded by leaves, of what do you suppose he thinks his 
world is made? 

By and by the birdling flies beyond this tree, out into the 
world. He is larger and stronger now than when he lived 
in the nest. Indeed, he is now quite fit for grown-up labors, 
— fit to fly about and hunt for his own food like other grown- 
up birds. He sees streams, meadows, hills, fields, gardens, 
houses, etc., so many different things that he is less able 
than ever before to tell what his world is made of. 

When you were a little baby where did you spend most of 
your time? (In the cradle.) Don't you suppose the cradle 
seemed the whole world to you? Then, when you were 
lifted from the cradle and looked about the room, that that 
room seemed the world, — until you were carried about the 



234 THE HALIBURTON TEACHER'S MANUAL 

house, when the house became your world? Who were the 
only people in your world? After a while, when you had 
passed your sixth birthday, you went to school. What was 
your world then? What people were in your world? How 
is it now? Do you think the world is so small now? What 
do you know of the world now? How are we like the birdling? 

The child is led to get the central thought of this poem by 
seeing the parallel between his own life and that of the bird. 
The teacher's concluding question may be for the purpose 
of pointing out this parallel. 

Although all or nearly all poems should be read aloud by 
the teacher before the class reads them, this poem is one that 
may well be first read silently by the pupils, who may then 
answer the following questions, by reading aloud one stanza 
at a time: Where did the bird live first, and what did he 
think of the world? (First stanza.) Where did he live 
next and what did he think of the world? (Second stanza.) 
What did the bird do one day, and what did he say? (Third 
stanza.) Then what did he do, and what did he say? 
(Fourth stanza.) 

Grace's Birthday, Page 107 

This lesson suggests what a teacher may do to reward 
or honor the most deserving of her pupils, whose birthdays 
occur during the school year. 

It provides also an occasion for teaching those facts in 
the life of the poet Longfellow that are most interesting to 
children of this Grade, and for introducing some of his poems 
which are most suitable for and interesting to them, among 
these being "The Children's Hour," "The Wreck of the 
Hesperus," "Hiawatha's Childhood," "The Windmill," and 
a few others. These should be read to the children as often 
as they wish to hear them. 



LESSON PLANS AND TYPE LESSONS 235 

Some of the facts about Longfellow's life that the teacher 
should impart in her language lessons are condensed in the 
short sentences found on page 113. The children should be 
able to give fluently and in full, during the oral language 
lessons, the incidents condensed in these short sentences. 

The list of words given for drill on page 107 emphasizes 
the phonogram ear as it sounds before the letter n; also the 
terminal ed. 

The People's Bell, Pages 108-112 

In planning this lesson, the teacher will find that this 
story falls into the following divisions: 

I. The wise king and the beautiful bell. 

(1) Where the bell was hung. 

(2) How it was to be rung. 
II. The people and the king. 

(1) What the people said. 

(2) What the king said. 

(3) What the bell did for the people. 

III. The old rope and the new rope. 

(1) How the rope was worn out. 

(2) How the old rope was replaced. 

IV. The rich knight and his horse. 

(1) How the knight had changed. 

(2) How his horse had served him. 

(3) What he said and did about his horse. 
V. The horse and the bell. 

(1) How the horse came to ring the bell. 

(2) What the bell seemed to say. 
VI. The judges and the horse. 

(1) The judges hear the bell. 

(2) They go to the tower. 

(3) They find the starving horse. 

{if) They hear of the knight's cruelty. 



236 THE HALIBURTON TEACHER'S MANUAL 

VII. The judges and the knight. 

(l) The judges' verdict. 
VIII. The knight's shame and the people's joy. 

This outline may be placed on the board for guidance in a 
silent reading lesson, or in a study lesson, and may also guide 
the oral reading. 

If the children cannot at first represent in their oral reading 
the words that the bell seemed to say, the teacher should 
read that part of the story aloud, imitating as nearly as possible 
the sound of a bell ringing slowly. 

All children have a deep sense of justice and most of them 
feel a quick sympathy for those that are wronged. The 
teacher will find it an easy matter to lead them in the closing 
discussion to express their sympathy for the faithful horse 
and condemnation of the cruel and ungrateful knight. 

The list of words given for drill at the bottom of page 112 
emphasizes the fact that a "tells its name " at the end of a syl- 
lable. The terminal hie is also emphasized in this exercise. 

The Children's Poet; The Windmill, Pages 113-114- 

The first of these lessons indicates what the pupils of this 
Grade should be able to tell and to write about Longfellow 
after having completed the prescribed work. 

The children have learned about the windmills of Holland 
in their Thanksgiving lesson, that told how the Pilgrims 
stayed with the kind Dutch people before coming to the New 
World. Longfellow's poem, "The Windmill," is given here 
for memorizing, but the class must have a clear understand- 
ing of the words even before they hear the poem read or try 
to memorize it. 

By showing pictures of windmills and telling about the 
uses to which they are put, the teacher can make the class 
ready for the poem. She can then secure intelligent answers 



LESSON PLANS AND TYPE LESSONS 237 

to her questions: What do we mean by behold? Why does 
the windmill call itself a giant? What is a tower? In what 
way does a windmill resemble a tower? What part of the 
windmill is called "granite jaws"? What do these "granite 
jaws" do? Into what do they grind the maize, or corn, or 
wheat, or rye? How can the windmills look down over the 
farms? What is meant by "the harvest that is to be"? 
How can the windmill "fling its arms to the air"? What 
are its arms? Tell in what way "the harvest that is to be " can 
be all for the windmill. 

The Wind, Page 115 

In preparation for this lesson, the pupils' own observations 
of the wind at different times should be consulted. They 
have seen the effect of the wind when it comes sweeping 
"very fast" through the tall trees, blowing loud blasts, and 
sometimes making a sound like a loud roar. At such times 
one is glad to get into the quiet of the house and shut the 
windows and the doors. 

They have observed the wind at other times when it was 
merely a breeze, blowing softly, moving the leaves of the 
trees and the flowers gently, as if playing with them, just 
as a sweet gentle child plays with a flower. 

All this is to be brought out by the teacher's questions, 
whereupon the class will be ready to read the poem. 

The words given for drill at the bottom of page 115 empha- 
size the soft sound of a (the short Italian a) in the phonogram 
ast, also the phonogram ild, the sound of the letters ou in the 
phonogram oud and the terminal ow. 

The Doll Show, Pages 116-117 

The lesson picture and the teacher's talks about the chil- 
dren of other lands, particularly of Japan, must form the 



238 THE HALIBURTON TEACHER'S MANUAL 

basis of preparation for reading this lesson. After such talks 
from the teacher, the children can readily pick out in the 
picture the Dutch doll, the Japanese doll, the Eskimo, the 
African, etc. The teacher may perhaps find it necessary to 
tell that the doll in the wide hoop-skirt is the very old doll 
that was brought by Carrie and that it is owned and cherished 
by Carrie's mother for the sake of Carrie's grandmother, to 
whom the doll once belonged. An appeal to their own 
experience, a reference to their own home treasures, will 
make clear to the pupils what is meant by keeping anything 
for someone's "sake," also the expression "for old sake's 
sake." The teacher should tell about the great Feast of 
Dolls that the little Japanese girls observe every March. 

The pupils will enjoy reading about the doll show and will 
feel a thrill of pleasurable anticipation and ambition at the 
words, "The Second Grade children will soon be reading 
about the children in far-away countries"; for they will 
know this means that the Second Grade pupils will soon 
become Third Grade pupils. 

The Lost Dolly Page 118 

The teacher should tell the children something of the poet 
Charles Kingsley, who wrote this poem, and something of the 
wide heaths which were so familiar to him. 

One teacher, whose pupils love this poem almost more than 
any other, conceived the idea of telling the pupils just how 
she believed the poet came to write this poem, and she suc- 
ceeded both in making the poem very real to the children 
and in developing in them a genuine love for it. 

A Successful Preparatory Talk. — She told them first some 
of the charming things about Kingsley which are sure to 
interest children, and then she said, "I believe I know just 
how he came to write this poem! I fancy it was this way: 



LESSON PLANS AND TYPE LESSONS 239 

One day he heard a lady talking to some children whom she 
kept calling ' dears. ' She was telling them about a sweet little 
doll she once owned when she was a little girl. She said it was 
a doll with cheeks so red and white and hair so charmingly 
curled that she thought it was the prettiest doll in the world. 

"Then this lady told the children about losing this doll one 
day as she played on the heath, and about crying for the lost 
doll for more than a week, crying because she never could 
find where the doll lay. 

"Then she told them about finding the poor little doll one 
day as she played on the heath. She said that the folks who 
saw her poor doll said that she was terribly changed; for the 
paint on her face was all washed away by the dew and the 
rain, and her arms had been trodden off by the cows, and her 
hair was straight and not the least bit curled. Yet, this 
lady said, for all that, she loved the old doll, and was re- 
joiced at finding her again; she said, that 'for old sake's 
sake ' she was still the prettiest doll in the world. She meant 
she loved the old doll, for the sake of, or because of, the happy 
times she had had playing with and loving her in the past. 

" I fancy that as the poet heard this lady talking to the 
children, calling them all 'dears,' he thought he'd like to put 
into poetry what she said, — put it all into a poem. So here 
it is. Listen while I read it and then you may read it to each 
other." 

The words given for drill at the bottom of page 118 empha- 
size the fact that, when there are two r's after 0, the letter e is 
not blended with the letter r making the sound er, but is 
sounded separately and has its own regular short sound. 

The Brave Tin Soldier, Pages 119-124 

The setting of this story is perfectly natural and familiar 
to the children. A little boy is playing with his toys on his 



240 THE HALIBURTON TEACHER'S MANUAL 

birthday. At night he goes to bed and his toys come alive. 
It requires no great effort of the imagination on the part of 
the children to make the experience of the tin soldier seem 
real; and they follow with intense interest the course of the 
story, — the tin soldier's fall from the window, his journey 
down the drainpipe, his imprisonment within the fish, his 
adventure which lands him in the place from which he started, 
— the children's playroom. 

As the class reads of these adventures and hardships of the 
little tin soldier, his heroism shines out through them all as 
a distinct reality. 

Preparatory Talk. — The teacher may preface the reading 
of the story with some such talk as the following: 

Children, this story was written by Hans Christian Ander- 
sen, a man who loved children and who wrote stories for 
them which they loved very much. I think you will like 
this one. Hans Andersen called it "The Brave Tin Soldier." 
As we read the story we shall see whether or not this is a 
good name for the story. As we read, let us see how the 
tin soldier proved that he was brave. When we come to 
any part that shows that the tin soldier was brave, let us 
stop and talk a little about it, and then we may write down 
what we find out about this. 

The assignment for the silent reading may be as follows: 
Read the part that tells 

1. what the little boy was given on his birthday; 

2. what the little boy did when it began to grow dark; 

3. what happened as the clock struck midnight; 
4-. what the little boy did next morning; 

5. what happened early on the morning after this; 

6. what happened to the soldier in the drainpipe; 

7. what happened to the soldier in the sea; 

8. where the soldier next found himself; 



LESSON PLANS AND TYPE LESSONS 241 

9. what the boy said and did; 
10. zvhat became of the tin soldier and the little dancer. 

In the answer to the leading question or problem stated 
at the beginning of the lesson — how the tin soldier proved 
that he was brave — the children will notice the following : 

(1) Soldier had but one leg, yet stood as firmly as the 

others; 

(2) Didn't cry when he fell from the window, but held 

on to his gun; 

(3) Made no sound in the dark drainpipe, but still held 

on to his gun; 

(4) When the fish swallowed him, he said cheerfully, 

" This is the darkest place I've been in yet " ; 

(5) Even when he fell into the fire he made no outcry. 

After the oral reading, the teacher may ask the class 
questions on what they've read, such as: Do you think the 
soldier had a hard time? Was there anything to make him 
happy? (He loved to look at the little dancer, who looked 
back at him and smiled.) Did anyone else appreciate the 
tin soldier? Are you pleased with the way the story ends? 

The words given for drill at bottom of page 124 empha- 
size the terminals ow and owed. 

Windy Nights; The Black Horseman, Pages 125-127 

The poem "Windy Nights" and the story of "The Black 
Horseman" are very closely connected in thought, so closely 
that they may be given as two parts of one lesson, if the 
teacher desires to do so. Indeed, the story of "The Black 
Horseman" may well be told as a preparation for the reading 
of the lesson. 

Preparatory Talk. — The children's experiences — if there 
are any — are first brought out, and then the story is told. 
The teacher leads the children to recall their experiences of 



UZ THE HALIBURTON TEACHER'S MANUAL 

windy nights, thus : How many of you have ever been awake 
late at night, when the skies were so dark and cloudy that 
the moon and the stars seemed to have set, could not be 
seen at all; when the wind was blowing with a deep noise 
that sounded like singing, — or something else than the wind? 

Robert Louis Stevenson, of whom you have heard so 
much, and some of whose poems you have read, used to lie 
awake until very late on such nights. In fact, he was often 
awake all the night long when he was a little boy; for he 
was sick a great deal of the time. He would lie through the 
long dark hours, listening to the wind that was so high, that 
was bending the trees till they sounded as if they were crying 
aloud, and was tossing the ships that were out upon the sea, 
as Robert knew. As he listened to the wind he recalled the 
stories that had been told to him by his mother and the good 
gentle Alison Cunningham who nursed him when he was sick 
and played with him when he was well. 

One of these stories was "The Black Horseman," the story 
of a tall man on a great black horse who went galloping about 
over the world on nights that were dark and windy and 
stormy. He was galloping about to find and punish those 
who had done wicked deeds. Good children never saw him 
and had no reason to fear him, but they often heard the 
sound of his black horse galloping, galloping, galloping, — 
going with the wind. 

When Robert heard the sound of the high winds at night 
he'd say, "There goes the black horseman galloping, gallop- 
ing by. Why does he gallop and gallop about?" 

Should you like to hear the story of "The Black Horse- 
man"? Then I'll tell it to you, and I'll read you the poem 
that Robert Louis Stevenson wrote about the windy nights. 
Afterwards you may read it and the story. When you can 
read them both well, you may read them to your parents 
at home, so as to make them enjoy both. 



LESSON PLANS AND TYPE LESSONS 243 

The teacher then tells the story of "The Black Horseman" 
and reads aloud the poem "Windy Nights." In telling the 
story the teacher must make clear the meaning of such 
phrases as dumb creatures, rushing blast, great black steed, 
long black mantle, etc. 

Whether the pupils read the poem or the story first does 
not much matter, — just so long as they close with the reading 
of the poem. 

Easter; The Rabbit and the Easter Eggs, Pages 128-131 

These lessons are really two parts of one story. 

The only preparation needed for reading the lesson is a talk 
with the children about what they do at Easter, what they 
see in toyshop windows, and what they have at Easter. 

Then the problems given to the children to solve may be: 
How did the custom of dyeing Easter eggs come about? Why 
do we always see the pictures of rabbits and toy rabbits 
with the eggs and chicks at Easter? 

The questions guiding the pupils in the study lesson may 
be as follows: How did the Second Grade children get 
ready for Easter? Where did they go and what did they 
do on one of the Easter holidays? 

What is a famine? Tell about one in a country beyond 
the sea. What about Easter Sunday in that country? 

As Easter Sunday drew near, how did the mothers feel? 
What did they say? What thought came to one mother? 
What did she say to the other mothers? 

Tell about the next Easter Sunday. 

Now can you tell how the custom of dyeing Easter eggs 
came about? Do you know why we have toys and pictures 
of rabbits at Easter time? 



244 THE HALIBURTON TEACHER'S MANUAL 

In the April Rain; Arbor Day, Pages 132-133 

Arbor Day and Bird Day should be celebrated every year 
in all our schools. There are schools that observe these 
days as regularly as they keep Thanksgiving Day, but not 
so many do this as should. One teacher can sometimes 
influence the whole school to observe these days simply by 
taking the lead with her own class of children. 

The two should be combined. One can scarcely think of 
trees without thinking also of birds. Besides the planting 
of a tiny tree on the school grounds each year, there should 
be talks by the teacher, and stories, poems, and songs by 
the children, about trees and birds. 

In reading about how the Book Children kept these days, 
the pupils who are reading this book may be fired with an 
ambition to do the same things, especially if the teacher's 
preparatory talk has been enthusiastic and inspiring. 

"In the April Rain" is a type of the poems about birds 
which may be selected for Bird Day, and "Apple-seed John" 
and "Why the Evergreen Trees Keep Their Leaves" are 
types of the stories that may be read and told. 

The pupils will, by this time, be perfectly familiar with the 
robin, having had several lessons, poems, and stories about 
this bird. The ideas in the poem are perfectly familiar, and 
the wording is quite simple, the phrase building sites being the 
only one that may need an explanation. 

The following may be given as suggestive for the study of 
the lesson on Arbor Day: (1) Tell what the children do to 
celebrate Arbor Day; (2) Tell what they do to make it 
Bird Day as well as Arbor Day. 

Apple-seed John, Pages 13J/.-135 

No special preparation for this lesson is necessary, except 
to direct the children's thoughts to the beautiful appearance 



LESSON PLANS AND TYPE LESSONS 245 

of an apple tree in bloom, its usefulness in giving shade 
and still greater usefulness in bearing its valuable fruit. 
A practical truth that the teacher may impress is that many 
a barren and ugly back lot or yard may be made both attrac- 
tive and valuable by planting it with apple trees. 
The outline for study may be: 

1. Tell what the old man wished to do, what he said to 

himself. 

2. Tell what he thought of one day and what he said to 

himself then. 

3. Tell what he did after this thought came to him. 
If. Tell about Apple-seed John and the children. 

5. Tell what the people said to him and why they said it. 

6. What was always the old man's answer? 

7. When people laughed at him, how did Apple-seed John 

take it and what did he say? 

After the reading is done, the children may be asked: 
"What do you think of Apple-seed John? Can you think 
of anything you might do to make some places more beau- 
tiful and some people happier?" 

Why the Evergreen Trees Keep Their Leaves, Pages 136-139 

This is a nature selection and presupposes a knowledge of 
certain facts on the part of the children essential to a full 
appreciation of the story. If such facts have not been taught 
by the teacher in previous nature study lessons, they must 
be brought into the preparation for the reading lesson. 

These facts are: 

(1) The migration of most birds to a warmer climate. 

(a) Why they go. 

(b) What would befall them if they did not go. 

(c) Where the birds that remain find shelter. 



246 THE HALIBURTON TEACHER'S MANUAL 

(2) The difference between the trees that become bare 
by shedding their leaves and those that keep their leaves 
all the year round. 

(3) The different appearance of the birch, the oak, and 
the willow. (Pictures of these trees should be shown and 
descriptions of them should be given by the teacher, unless 
the trees themselves can be shown.) 

The ethical teaching of the story is obvious: deserved re- 
ward of unselfishness and just punishment of selfishness. 

The teacher's outline on the board will follow the main 
happenings of the story. 

1. Little bird breaks wing; cannot fly away with other birds. 

2. Bird goes to the beautiful birch tree for shelter; is refused. 

3. Goes to the great oak; is refused. 

]/,. Goes to the gentle willow; is refused. 

5. Bird is called by the spruce, who offers shelter; the pine 

and the fir offer added protection against the North 
Wind. 

6. North Wind and Frost King take from birch, oak, and 

willow all their leaves. 

7. Spruce, pine, and fir trees allowed to keep their leaves as 

reward for kindness to crippled bird. 

This story may be worked out in detail as a "silent read- 
ing lesson." The pupils read to find answers to the teacher's 
questions and then give in their own words the substance 
of what they have read. Or, if the teacher prefers, the class 
may use these questions in a study lesson and afterwards 
answer from the book; that is, they will read the required 
lines orally. In this latter case the teacher will say: "Find 
in the first paragraph what time of the year it was when this 
story begins. What had become of most of the birds? 
What had happened to one little bird?" (Children read 
silently the first two short paragraphs.) 



LESSON PLANS AND TYPE LESSONS 247 

Then the teacher reads aloud: "And now he was all 
alone in the cold world of frost and snow. 

"Let us see to whom he goes for help. Find what he 
thought or said to himself, to whom he went for help, and 
what happened." (Child reads about the birch tree.) 
"Find what the bird said to himself, to whom he went next, 
and what they said to each other." (Child reads about the 
oak tree.) "Find what the little bird said to himself after 
this, to whom he went for help and what they said to each 
other." (Child reads about willow tree.) "Find who was 
heard calling to the little bird and what they said to each 
other." (Child reads about the spruce tree.) "Find who 
else offered to help the bird and what they said." (Child 
reads about pine and fir trees.) "Find who came into the 
forest and what they did to the birch, the oak, and the 
willow. Find what the Frost King and the North Wind 
said, and what they did for the spruce, the pine, and the 
fir trees. " 

The story ends in a way that is very satisfying to the 
child's sense of justice, and his gratification is great that 
reward was bestowed for kindness shown to one in trouble 
and that selfishness was punished. 

The teacher should draw from the children their own in- 
dividual views on such matters as the following: "Why 
couldn't the birch tree help the little bird? Would it have 
hurt her pale green leaves and little buds for her to have 
sheltered the bird? Why wouldn't the great oak help 
the little bird? Would it have hurt its growing acorns for 
him to have helped the little bird? Why wouldn't the wil- 
low help the little bird? Could she not have rested and at 
the same time have sheltered the little bird? What do you 
think of the birch, the oak, and the willow trees? " (Selfish.) 
"Did the little bird have to ask the spruce for shelter and the 
pine and the fir for protection? What do you think of the 



248 THE HALIBURTON TEACHER'S MANUAL 

spruce, the pine, and the fir trees?" (Kind, unselfish.) 
"What happened to the birch, the oak, and the willow? 
Why didn't the same thing happen to the spruce, the pine, 
and the fir trees? Does it pay to show kindness to those 
who are in trouble? What do you think was the very best 
part of this story?" 

The Plant; The School Garden, Pages 1 40-1 42 

Just as the poem "In the April Rain" and the lesson on 
Arbor Day were taken together, so the poem "The Plant" 
and the " School Garden" may be treated as two parts of one 
lesson. The purpose here is similar to the one in that lesson. 

Whenever at all possible, there should be a school garden 
connected with the school itself. Perhaps the utilitarian 
side of this phase of school work is being emphasized, just 
now, at the expense of its more aesthetic and ethical side. 
Flowers, rather than vegetables, make for the cultural value 
of such work, and should be as much if not more empha- 
sized than vegetable productions. 

Poems, songs, and stories should be connected with the 
work based on the school garden. Flowers are naturally 
connected with music and poetry. A line of nature study 
runs side by side with these poems, songs, and stories about 
flowers. For instance, as a preparation for the little poem 
in this lesson, "The Plant," the teacher develops the thought 
of the little plant that is living unseen in the heart of every 
seed. It is there, alive, but it is fast asleep before it is put 
into the ground, — buried deep in the ground, and even 
after it is buried in the ground, it is still fast asleep until the 
warm sun has shone down upon the ground and the rain has 
fallen where the seed lies buried. All that time the sunshine 
seems to be calling to the little plant in the heart of the seed, 
"Wake! wake and creep to the light!" and the patter of the 



LESSON PLANS AND TYPE LESSONS 249 

bright raindrops is like a voice saying, "Wake, wake!" 
until at last the little plant in the heart of the seed seems to 
hear those voices; for it begins to wake, then to stretch and 
grow and rise upward, out of the darkness, as if it wished to 
see "what the wonderful outside world might be." 

The pupils will enjoy the poem all the more from having 
received this thought of the life and activity of the little 
plant that lies asleep in the heart of the seed. 

The words given for drill at the bottom of page 140 em- 
phasize the fact that or after the letter w has the sound of ur. 

The Flowers and the Fairies, Pages 11+2-11$ 

This lesson presupposes on the part of the children a knowl- 
edge of certain facts of nature without which many poems 
and stories and much of f airylore itself must be unappreciated. 
If the children have not had these facts developed in previ- 
ous nature study lessons or talks, the teacher must give them 
as a part of the preparation for the reading lessons. For 
instance, the children should be familiar (1) with the ap- 
pearance and habits of bats, which figure in so many of the 
more romantic stories of the night time; (2) with the appear- 
ance and habits of the large beautiful moths which fly at 
night; (3) with the pretty little red beetle called the "lady 
bird" or "lady bug"; (4) with the appearance and habits 
of the larvae, or young, of a certain species of the fire-fly 
or "lightning bug," which are found in the country, the 
larvae emitting a greenish light as bright as that of the Euro- 
pean glowworm, — being really as much of a glowworm as 
that found in Europe and known as the glowworm. The 
children should know about the mushrooms and toadstools 
that spring up in one night, like things of magic, where a 
few hours before nothing of the kind was to be seen. 

Such facts, as well as the stories of fairyland, should be 



250 THE HALIBURTON TEACHER'S MANUAL 

at the tip of every teacher's tongue. Real nature study and 
a close acquaintance with the lore of fairyland help more in 
teaching than is generally realized. 

If the children know such facts of nature and have jour- 
neyed often to fairyland and there have met Queen Mab 
and King Oberon with their fairy attendants, they will 
enjoy reading this lesson. 

The Story of Clytie, Pages U5-U8 

In planning this lesson, the teacher will see at once that 
certain objects and phenomena must be made clear to the 
pupils' minds if they are to understand and appreciate, 
or even fully enjoy, this pretty story. From even a hurried 
first reading of the story, the teacher will decide that she 
must talk with her pupils about: The sea, its waves, its 
rocky bottom, its caves and grottoes with their floor of glit- 
tering sand, its shells of shapes and sizes varying from tiny 
ones to those more than a foot in diameter, its pearls, its 
lace-like sea ferns, sea mosses and seaweed, its groves of 
pink and white coral, etc. She must call attention to the 
apparent movement of the sun across the sky, from its rising 
to its setting. She must try to help the children that have 
never seen it visualize the sun rising from the waves and 
sinking again into the ocean at the time of its setting. 

Great indeed would be the power of the teacher who could 
do all this for the children merely by talking to them. She 
could not do it, talk she ever so clearly, simply, and graphi- 
cally, and thoroughly foolish would be the teacher who 
attempted it. She must have pictures of the ocean, the 
best and truest she can find; for perhaps only a few, if any, 
of the class will have seen the ocean itself. She must have 
shells to lay before the class. She should have pressed speci- 
mens of sea ferns and sea moss, also specimens of coral, pink, 



LESSON PLANS AND TYPE LESSONS 251 

white, and red, if possible. All these objects must be sup- 
plemented by pictures and vivid descriptions. The pupils' 
daily observation of the sun should be turned to account. 

She must show to the class the growing sunflower if pos- 
sible, or, in lieu of the real plant, its picture. She must tell 
them of this flower's habit of turning its face toward the 
sun, turning slowly from the east upward to face the zenith 
and then drooping toward the west, following the sun in its 
daily course across the heavens. 

In her search for the ethical truth in this story, the teacher 
will find it to be one of deep import to the young reader, 
— perhaps too deep, too psychological, for young children, 
as some teachers think. But the teaching here will not seem 
"too deep" to the teacher who can convey great truths in 
simple ways. 

No greater, simpler truth can be given to children than 
that by keeping our thoughts, our mental gaze, upon the 
Holy One, and by ardently longing to be like Him, we shall 
be changed, gradually becoming more like Him upon whom 
our gaze is fixed. It is a great religious truth, taught by a 
heathen myth. It is possible to bring home to the children 
the great truth that this story may be made to teach, 
entirely without "preaching." But whether any particular 
teacher can do this must be left to the judgment of the 
teacher herself. 

The outline given for study may be: 

1. Who Clytie was, how she looked and dressed. 

2. Where Clytie' s home was, how it looked and what was in it. 

3. In what Clytie slept and how she traveled over the sea. 

4. Where Clytie had never been and what she had never seen. 

5. What happened to Clytie one night and where she found 

herself next morning. 

6. What she said, what she did, until it was time to return 

to her home. 



252 THE HALIBURTON TEACHER'S MANUAL 

7. What she did all next day and what she longed to be. 

8. What happened to Clytie at last. 



Seed Friends, Page 1^9 

The ideal preparation for this poem is a nature lesson or 
talk on seeds. In such a lesson the little brown seeds of the 
poppy and the seeds of the sunflower should be shown to 
the children. It may be possible to show the blooms of the 
poppy and the sunflower. If not, good pictures of the flowers 
should be shown and the plants clearly described by the 
the teacher, who should try to emphasize the wonder of the 
change that takes place when, from one hard, brown, dead- 
looking seed, there bursts the tiny green plant of the sun- 
flower, which promptly starts to grow upward, and soon 
rears its crown of golden disks high above the ground! 
While, from the other little brown seed, which has lain so 
cozily in the ground, side by side with the sunflower seed, 
there bursts the slender green plant of the poppy, which 
also starts upward, but stops only a short distance above the 
ground to hold out its delicate cups of red or white blossoms 
to the dew and the bees. In this poem the poppy does all 
the audible talking. We are not given the reply of the sun- 
flower, which brings from the poppy the exclamation, "What! 
you are a sunflower!" and which causes the poppy's disap- 
pointment that its lowly blooms will be far below the gor- 
geous lofty blooms of its little companion seed. 

But its words show that no envy fills the little poppy. A 
desire to be sociable and kindly is shown in its promise to 
the lofty sunflower to send all the bees — those visitors 
welcomed by all flowers — up to kiss the sunflower, and in 
its gentle farewell, "Little brown brother, good-by!" 

The lesson taught by this beautiful poem is too obvious 
to need mention here. 



LESSON PLANS AND TYPE LESSONS 253 

The May Baskets, Pages 150-151 

This lesson, like those on pages 34, 42, 48, 68, 95, 102, 107, 
116, 128, 133, and 142, is intended to arouse in the young 
readers a deeper interest in the activities of their own school- 
rooms, to make those activities a source of pleasure, approach- 
ing, if not equaling, that obtained from reading the unreal 
and romantic fairy tale. 

The glory of the wild flowers bursts upon some sections 
of the country before the month of May, and the teachers 
of those sections will probably find that April is the month 
in which the children thrill with delight over the first pro- 
fusion of wild flowers. In that case the making of wild- 
flower baskets from cardboard should be a feature of the 
month's handwork, and the study of the wild flowers of the 
section a part of the nature work. 

The pretty custom of hanging baskets at the doors of 
those who are "shut-in" or who are too hard at work to 
find time to go to the woods is one to be encouraged. But 
with it should go the earnest caution against the wanton 
destruction of the beautiful green growing treasures of the 
wood. The children who have been trained to leave all 
that they really do not need of the wild flowers have gained 
a self-control that is a power and an appreciation of nature's 
gifts which will be valuable in all after life. 

Much of such true teaching may be done, as well as the 
telling of midsummer fairy tales, by the teacher who goes 
with her pupils for a few happy hours in the summer woods. 

The Little Girl Who Wanted the Stars, Pages 152-156 

No preparation is needed for the reading of this old Scotch 
folk tale, unless it be to show pictures of the old mill with its 
busy wheels, and call to the children's mind the star-like 
appearance, on the surface of the water, of the water drops 



254 THE HALIBURTON TEACHER'S MANUAL 

scattered by the mill wheel, and the star-like sparkle of the 
dew drops on the grass. 

The outline given for the lesson may be as follows: 

1 . What did the little girl cry for? Wha t did she do one day? 

2. Tell what she came to first, what they said to each other, 

and what the little girl did. 

3. Tell what she went to next, what they said to each other, and 

what the little girl did. 
Jf. Tell what time of the year this was and what the place was 
in which the little girl rested. 

5. Tell what the little girl saw when night came in the meadow, 

what was said and done there. 

6. Tell what the little girl did next day, whom she met, what 

was said and done. 

7. Tell what place the little girl came to next, whom she 

met there, what was said and done. 

8. Tell what the little girl did and where she found herself 

at last. 

At the close of the lesson, the teacher may ask: "What do 
you think of that little girl? Why do you think she was 
foolish? Did you ever spend any time wishing and fretting 
for things you could not get? What do you think is meant 
by the words, ' She found herself right in the middle of her 
bed at home?' Are you glad it was all a dream? Do you 
suppose the little girl kept up her crying for the stars after 
she had that dream?" 

About the Fairies, Page 157 

Perhaps only few children in the class have seen the flowers 
that are called bluebells. If so, pictures should be shown 
and the flower described to the class. They know what grass 
stalks are. They should know as well what is meant by 
bluebottles, glowworms, and crickets. 



LESSON PLANS AND TYPE LESSONS 255 

As a general rule it is better in teaching a poem to have 
each child read the entire poem. But there are a few poems 
which may be read in separate parts by different pupils, 
after the teacher has read the poem aloud as a whole. 

This poem, "About the Fairies," may be read aloud by 
as many as ten pupils, each taking one part, as follows: 

First Child: Pray, where are the bluebells gone 

That lately bloomed in the wood? 

Second Child: Why, the fairies have each taken one 
And put it on for a hood. 
Two other children may read the second, and two others 
the third stanza. The four statements made in the last stanza 
may be read by four children, each child reading one. 

Mabel's Midsummer Day, Pages 1 58-16 '-4 

Guiding Outline. — The outline for this story may be as 
follows : 

1. The little girl Mabel. 

'2. What Mabel was to do for her grandmother. 

3. What Mabel was not to do. 

(a) In the lonesome glen, 

(b) At the Lady's Well, 

(c) In the Brownies' wood. 

4*. Mabel's promise to her mother. 

5. What Mabel did at her grandmother's. 

6. Where her grandmother sent her first and what Mabel 

saw and heard at the Lady's Well. 

7. Where her grandmother sent her next and what Mabel 

saw and heard in the Brownies' wood. 

8. Where her grandmother sent her next, and what Mabel 

saw and heard in the lonesome glen. 

9. What Mabel did and had all her life after that Midsummer 

Day. 



256 THE HALIBURTON TEACHER'S MANUAL 

It will not be difficult to lead the class to see the central 
truth of the story, which is the beauty of an obedient will and 
a loving heart. 

After the story has been read, it may be worked over by 
teacher and pupils together into a dramatization. With 
the acknowledged purpose of dramatizing the story, the 
teacher may write questions on the board whose answers 
can only be found by a second silent reading. 

Dramatization. — Read the story again. 

Find what characters are in the story. (Mabel, Mother, 
Grandmother, spiteful Brownies, Fairy Lady, and other 
fairies.) We read about Mabel in what place first? (At her 
own home.) In what place next? (At her grandmother's.) 
In what three places after that? (At the Lady's Well; in the 
Brownies' wood; in the lonesome glen.) 

Who talks most in this story? (Mother.) 

Who talks least? (Mabel.) 

Who else talks in the story? (Grandmother, Brownies, 
Fairy Lady, and other fairies.) 

To make this story so we can play it, we must have one of 
the characters do more talking than the story gives; who is 
it? (Mabel.) 

It should be a comparatively easy matter for the children 
to make up Mabel's answers to her mother and grandmother 
after the teacher suggests that Mabel is willing to do every- 
thing that she is told to do and must show this obedient 
spirit in her answers. If the teacher will make up Mabel's 
first answer, this will serve as a model. The dramatization 
as worked out will stand somewhat as follows: 
Characters: 

Mabel Spiteful Brownies 

Mother Fairy Lady 

Grandmother Other Fairies 



LESSON PLANS AND TYPE LESSONS 257 

Scene I: At Mabel's Home. — Mother: You must go 
and stay with your grandmother, etc. (remainder of first 
paragraph) . 

Mabel: Yes, Mother, I'll be glad to wait upon Grand- 
mother all day. I'll make her bed for her, I'll help her cook 
the dinner, and I'll feed the little dog. 

Mother: You can bring water, etc. (remainder of second 
paragraph) . 

Mabel: Yes, Mother, I'll bring water from the spring 
called the Lady's Well. I'll go to the woods and gather 
dry fagots for Grandmother's fire. Then I'll go down to the 
lonesome glen for the sheep. 

Mother : But listen, now, my little Mabel, etc. (remainder 
of third paragraph). 

Mabel: Yes, Mother dear, I am listening; I know it is 
the day that brings all the fairies from Fairyland. I'll 
not forget to keep by the running brook in the lonesome 
glen. I will not pick the pretty strawberry flowers nor 
break the sweet lady fern. 

Mother: Do not stop to think, etc. (remainder of para- 
graph). 

Mabel: I'll think only of poor sick Amy and of how I love 
you all. If I see the fairies, I shall not be afraid. If they 
speak to me, I'll give them a kind answer. 

Mother: When you go to the spring, etc. (remainder of 
paragraph) . 

Mabel: I will be careful, dear Mother, not to spill the 
water nor make the spring muddy. I will remember that 
the . queen of the fairies loves the clear water. I will be 
careful to please her, not because I fear her, but because 
she is kind and good. 

Mother: When you go into the woods to gather fagots, 
etc. (remainder of mother's speech). 

Mabel: I will do just as you, etc. (to bottom of page). 



258 THE HALIBURTON TEACHER'S MANUAL 

(Mabel takes the cake and butter, kisses her mother, and runs 
out of sight.) 

Scene II: At Grandmother's House. — Mabel (giving 
Grandmother the cake and butter as she kisses her) : Mother 
could not come to see you to-day, Grandmother, because 
my little sister Amy is very sick. But I have come to wait 
upon you all day. (She begins to make the bed, then sweeps 
the floor and sets the table.) 

Grandmother: Now, dear child, go to the Lady's Well 
and bring water for the day. 

Mabel: Yes, dear Grandmother, I'll go and soon be back. 
(Gets a pail and runs from the room.) 

Scene III: At the Lady's Well. — Mabel (talking in a 
low tone to herself) : Oh, see that tiny lady dressed all in green 
and white! (Bows to the lady but does not speak, then stoops 
over the spring and carefully dips in her pail and lifts it out.) 

Fairy Lady: You have not spilled a drop, etc. (remainder 
of paragraph) . (Fairy Lady walks swiftly out of sight. Mabel 
stands still, looking up as if seeing a bird, then runs out of sight.) 

Scene IV: At Grandmother's House. — (Mabel comes in 
and puts pail of water on table.) 

Grandmother: Now, dear child, go to the woods, etc. 
(remainder of paragraph) . 

Mabel: Yes, dear Grandmother, I will go and will soon 
be back to cook your dinner and then I'll feed the little 
dog. (Takes up basket and runs out of sight.) 

Scene V: In the Brownies' Wood. — (Mabel stooping, and 
filling her basket with dry sticks. Several Brownies peeping at 
her from behind the trees.) 

First Brownie: Look at that human child. See how 
small she is! 

Second Brownie : Look at her little blue gown, etc. 



LESSON PLANS AND TYPE LESSONS 259 

Third Brownie: It would be a shame, etc. (Another 
Brownie throws a silver penny at the feet of Mabel, who picks 
it up, showing her joy, and then runs out of sight with her 
basket of fagots.) 

Scene VI: At Grandmother's House. — Mabel (running 
in with basket of fagots) : Here are the fagots, dear Grand- 
mother. 

Grandmother : And now, dear child, it is nearly night, etc. 

Mabel: Yes, dear Grandmother, I'll run away to the lone- 
some glen; and, where the bushes grow thick and wild, I'll 
hunt for the mother sheep and her lambs. (Mabel runs out 
of room.) 

Scene VII: In the Lonesome Glen. — Mabel (walking along 
and talking to herself); I must keep by the running brook, 
as dear Mother told me to do. I will not pick these straw- 
berry flowers nor break the lady ferns. I must look for 
the mother sheep; but as I hunt I can think of my dear little 
sister Amy. Oh, how I wish she were well again! (Looks 
up as if listening to some strange sound in the air, but does not 
see the fairies peeping at her from behind the trees.) 

First Fairy: A human child is in the glen. 

Second Fairy: But see! She does not break the lady 
fern nor pick the strawberry flower. 

Third Fairy: What shall we do for the kind child who 
lets the pretty green things grow? 

Fourth Fairy: Grant her a wish. 

All the Fairies together: Let us grant her last wish 
that she has made. 

Mabel (lifting her head, clasping her hands with delight, then 
waving them as if driving sheep) : Go on, pretty sheep ! Oh ! 
how many things have happened during this long Midsummer 
Day! All my life I shall keep the fairy gifts. Little Amy 
will soon be well and strong again! (Takes penny from her 



260 THE HALIBURTON TEACHER'S MANUAL 

pocket and looks at it.) This fairy penny will bring me good 
luck always. As long as I live I shall try to do well every- 
thing I have to do, and I hope as long as I live I shall be 
loved by every one. 

The words given for drill on pages 161 and 164 emphasize 
the terminals ed and ing; the changing of y into i before the 
terminals er and est; and the sound of a (short Italian a) 
in the phonogram ant. 

Fairy Umbrellas; The Dainty Little Fairy, Pages 165-166 

The quaint fancy expressed in the first of these poems 
appeals to all children, but more especially to those who 
have seen the fragile but beautiful umbrella-shaped mush- 
rooms, pearly white, faint pink, or of a rich cream color, 
which spring up in the night under the branches of some old 
oak or pine. 

The other poem, on page 166, is connected more closely 
with the lessons in this section of the book, but is in reality 
one of two parts of a single poem, the first part being "The 
Halloween Elf" given earlier in the book. 

The Brownies' Bell, Pages 167-170 

The outline for the study of this story may be: 

1 . The wee folk on a midsummer night. 

2. The Brownies and their bells. 

3. The Brownie's loss. 

k> The shepherd boy's discovery. 

5. The Brownie's grief and search for his bell. 

6. The Brownie hears his bell; changes himself into an old 

woman. 

7. The Brownie offers gold to shepherd boy for bell. 

8. The shepherd boy's answer. 

9. Brownie's offer of snow-white staff for bell. 



LESSON PLANS AND TYPE LESSONS 261 

10. Shepherd boy accepts staff, gives up bell. 

11. Shepherd boy becomes rich knight, builds castle. 

12. What the knight sees and hears on Midsummer Eve. 

Ladybird, Page 171 

The truly cultured child is he whose literary course began 
with Mother Goose, from whose gentle teaching he learned 
to free the dainty ladybird as he chanted, "Ladybird, 
ladybird, fly away home. Your house is on fire, your 
children will burn!" 

From Mother Goose he found himself moving onward into 
the wonderland of the wee good folk, where he heard the 
tinkle of brownies' bells, danced with Queen Mab "in the 
fairies' own hall," and rode with King Oberon in his fairy 
car. Along with his reading in fairy lore have gone, hand in 
hand, his fancies, his discoveries and observations in nature's 
realm, — where he watched the field mouse in her nest, the 
bees and the birds flying to their homes when the dews begin 
to fall and "the glowworm is lighting her lamp" in the grass. 

To such a child this poem by Caroline Southey is a never- 
ending delight, epitomizing, as it does, so much that he 
feels and loves in literature and nature. 

Detailed Lesson Plans in Reading from the Third 

Reader 
A. Introduction 

One of the principal ideas in the Third Reader is the 
correlation of Geography, as well as Language, with Read- 
ing. Children in the third school year are generally begin- 
ning to study, to a greater or less extent, the geography of 
foreign countries; consequently, no one theme perhaps is 
of more interest to them than that of the life of children 
in other lands. 



262 THE HALIBURTON TEACHER'S MANUAL 

Child life in Arabia, Japan, Italy, Switzerland, France, 
Germany, and Holland is always picturesque. The home 
in an oasis in Arabia, on an island in Japan, in a city in Italy, 
among the mountains in Switzerland, on the banks of a great 
river in Germany, beside the sea in Holland, are all described 
in this book. In connection with these sketches, stories 
and poems are included which are told and sung to the 
children of those countries. 

The poems contained in the book have been selected with 
the sketches and stories in mind, each poem being either a 
fitting introduction or an appropriate ending to the story with 
which it is connected. There is not in the entire book a single 
irrelevant or isolated selection, nor one given "without 
reason save for its rhyme." In almost every instance the 
reading of the story which precedes the poem puts the young 
reader in the mood for understanding and enjoying the poem, 
and prepares him specifically for its vocabulary. That this 
in itself is a great gain, no teacher will deny who has ex- 
perienced the reluctance, and the dislike even, of the average 
child in the grades to reading poetry. 

The teacher can easily lead her pupils to dramatize the 
sketches of child life in the different countries, and she will 
find in the book much material that may be profitably 
used in connection with lessons in Geography and Language. 

The teacher will recognize the advantage of giving the 
preparatory discussions and talks on geographical subjects 
at a period previous to the reading and as an exercise separate 
from that of the Reading period, perhaps replacing the 
regular Geography lesson in the day's program. This is 
applicable especially to the informational selections. 

There is considerable variety in the subject matter of 
this Third Reader. "The teacher needs to recognize this 
variety and to adapt her teaching to the style and pur- 
pose of each selection. . . . Not only do the author's style 



LESSON PLANS AND TYPE LESSONS 263 

and purpose serve to guide the teacher in her lesson 
plans, but also the needs of the class for such type lessons 
as give them power in different lines. . . . She should ques- 
tion herself: Does the class need training in rapid silent 
reading; in emotional response; in better habits of study? 
Only as she recognizes both of these phases in her lesson 
planning will she help her pupils in solving their reading 
problems." 

Although there has been worked out here a detailed plan 
for every lesson in the book, each is of course only sugges- 
tive. If circumstances or certain existing conditions make 
a different plan more effective, the teacher should feel free 
to construct a different plan. There are certain steps 
that are frequently left for the individual teacher to work 
out, such as stating the "assignment," deciding what is 
"the teacher's aim," stating what is "the pupil's aim," 
finding "the heart of the story," etc. The author has no 
desire to rob the teacher of individuality in the planning 
of these lessons. Her only wish is to help to some extent 
the younger and less experienced teachers who may use 
the Haliburton Readers. The drills in syllabication may 
seem to some to be monotonous and mechanical, but if given 
as a brisk drill at the short period set aside for word study, 
they will be both valuable and enjoyable to the children. 

By the third school year the child should be able to 
analyze words of two, three, four, or more syllables into 
their sounds. In fact by that time the work in syllabica- 
tion should have become a most effective tool for the 
child, one by which he can readily master long and un- 
familiar words. He should understand just what is meant 
by a syllable, keeping in mind, when trying to separate a 
new word into its syllabic parts, that a syllable must con- 
tain one or more vowels. 

The use of the accent mark, also, should be thoroughly 



264 THE HALIBURTON TEACHER'S MANUAL 

understood by the child. He may be led to think of the 
accented syllable as the one that we "strike hardest with 
the voice." The accent mark should be used daily in 
words written for phonetic drill and pronunciation. Its 
use and its effect should be made clear by placing it over 
first one and then another syllable, the word being pro- 
nounced each time according to the position of the accent 
mark. In phonetic drills the separation of the words into 
syllables need not always follow the arbitrary division 
made in the dictionaries. In such drills, especially with 
long words, the child should first sound slowly and dis- 
tinctly each syllable, giving to each vowel (except i) the long 
sound when the vowel by itself constitutes a syllable or 
when it ends a syllable. 

The child should be led to see that the vowel i is gen- 
erally short when it ends a syllable or constitutes one; that 
the vowel a has the intermediate sound when ending words, 
as, so fa, gon do la; and that the endings -ous, -tion, -ion, 
and -tient should be given as us, shun, yun, and shent, re- 
spectively. 

The following words illustrate the above principles: 



he ro 


Ro me o 


a maze ment 


re al ly 


Taro 


vol ca no 


ere a ted 


cost li est 


duty 


o a sis 


pet ti coat 


pa vil ion 


Bible 


gon do la 


yo del ing 


com pan ion 


sta ble 


en e my 


la zi est 


di rec tion 


no ble 


Italy 


bus i ness 


val u a ble 


Ko ran 


Oc to ber 


hes i tate 


grad u al ly 


Ja pan 


f o li age 


Ger ma ny 


o be di ent 


ca nal 


glo ri ous 


fac to ries 


An to ni o 


tu lips 


cu ri ous 


u ni forms 


A ra bi a 


gi ant 


an i mal 


in no cent 


U rash i ma 


si lent 


fu ri ous 


cost li est 


com fort a ble 


pre vent 


hoi i day 


mu se urns 


veg e ta tion 



LESSON PLANS AND TYPE LESSONS 



265 



po lite 


car ni val 


pro tect 


au di ence 


pa rade 


sol i tude 


sa lute 


re mem ber 


pa tient 


di a mond 


de spair 


lull a by 


e ven ing 


gra na ry 


mem o ry 


gos sa mer 


vi o lin 


be gin ning 



in dus tri ous 
e lee trie i ty 
im ag in a ry 
or di na ry 
Na po le on 
In de pend ence 
in tel li gent ly 



po ta toes 

the a ters 

o ri ole 

daf f o dil 

u su al 

va ca tion 

vel vet een 

hy a cinth 

Jap a nese 

As has been said in the Haliburton Second Reader, dia- 
critical marks are not necessary in analyzing, but the child 
may be led gradually to use them. The mark of elision may, 
however, be used to advantage in analyzing words, since it 
does not seriously disfigure the printed or written word, 
and since by its use a number of words usually regarded as 
unphonetic may be analyzed into their sounds. 

A list follows of words used in this reader which may be 
marked and analyzed. 
i./le g^ide 

inland heart 

fr/endly hearth 

people a/mond 

ofjfen Charlott^ 

listen Cosette' 

byiilt lyiine 

C before e, i, and y has the soft sound: 
cit rons cer tain eel lars 

The e at the end of the last syllable in words of two or 
more syllables does not make the preceding i long, as in 
monosyllables; see the following examples: 
ra vine Ven ice prec i pice fa vor ite 

fam ine na tive de ter mine Kath a rine 

Al pine prom ise tarn bour ine sar dines 



^nome 


breakfast 


jjfnaw 


solem^f 


height 


condemji 


course 


journey 


palett^ 


mouldy 


Kermess^ 


shojAlder 


Zyfyder 





of fi cers 



m6 THE HALIBURTON TEACHER'S MANUAL 

The child should be taught to distinguish clearly the three 
sounds of ed as an ending, which in some words has the 
sound of d, in others the sound of t, and in still others is 
sonuded as a separate syllable. In the following, -ed has 
the sound of d: 

curled smoothed hurried carried 

furled curtsied 

In the following, -ed has the sound of t: 
reefed mixed jumped danced 

B. Detailed Lessons Complete 

Pages 1-4 

Of the three introductory lessons, "The Child's World," 
"On the Other Side of the Ball," and "Good-night and Good- 
morning," the first two should be treated as two parts 
of one lesson. The preparation for the first part is the prepa- 
ration for the second also. 

Word Study. — If the teacher wishes to give a preparatory 
lesson in word study or drill in syllabication which will 
include the new words of these introductory lessons, she 
should give it before she begins the preparation for the 
thought of the lesson, as a separate exercise, outside of the 
reading period. There are eighteen new words, not too 
many for a word study exercise or a drill in syllabication. 
The words should be written on the board, arranged accord- 
ing to number of syllables in the words, and divided into 
syllables, as follows: 



isles 


sur face 


re al ly 


prayers 


sew ing 


cu ri ous 


smoothed 


curt sied 


fav or ite 



LESSON PLANS AND TYPE LESSONS 267 

thou sands glo ri ous im ag i na ry 

whis per di rec tion 

cit ies op po site 

(The drill need not include foxgloves and Lucy.) 

In drills such as this the teacher should teach the use of the 
accent mark, the sound of a vowel when constituting a sylla- 
ble by itself or when ending a syllable, and the endings 
ous, tion, ion, and tient; also the use of the mark of elision, 
the sounds of c before e, i, and y, and of e at the end of the 
final syllable in a word; and the different sounds of the 
ending ed. (See pages 264-266 of this Manual.) 

Of course there will be other words which may be diffi- 
cult for the child to pronounce when he comes to them in 
his reading. Instead of the teacher trying to select from 
the reading text the words she thinks may prove difficult 
and including them with the new words in the drill exercises 
just described, she will find it better to resort to the following 
plan : Should the child come to a word, in his silent reading 
lesson or study lesson, which he cannot pronounce, he must 
try his "three keys" upon the word: 

(1) Read sentence again to see what word standing in 
the place occupied by the unknown word would "make 
sense" of the sentence. 

(2) Syllabify the word, using knowledge of long vowel 
sounds at end of syllable, etc. 

(3) If still unconquered, the unknown word should be 
written on a paper and this list of "unconquered words" 
should be shown to the teacher, who will pronounce them 
before the oral reading of the lesson begins. 

Thought Preparation. — The thought preparation for these 
introductory lessons should consist chiefly of the develop- 
ment of certain necessary geographical facts, as outlined 
under the following heads : 



268 THE HALIBURTON TEACHER'S MANUAL 

1. Our earth: 

(a) a globe, or ball, very great in size, 

(b) moving onward or rolling around the sun — how far? 

(c) turning over and over, ever in the same direction; 

(d) making a year; making a day and a night; 

(e) at sunrise turning our side of surface toward the sun; 

(f) at sunset turning our side of surf ace away from the sun; 

(g) sun seeming to set at a point in the sky exactly oppo- 

site to the point at which it seemed to rise; 
(h) day with us is night with the people on the side of the 
globe opposite to us, 

2. Outside surface of our ball: 

(a) made up of land and water; 

(b) land with grass, fields of grain, forests, trees; 

(c) land as prairies, plains, deserts, valleys, hills, cliffs, 

mountains; 

(d) land with towns, villages, and cities built upon it; 

(e) land with animals and people living on it; 

(/) water in oceans, seas, lakes, rivers, and ponds " curled " 
around the globe in different places. 

3. Air: 

(a) invisible but can be felt; 

(b) over us, all around us, all around our ball. 
Jf.. The wind: 

(a) effect of wind: shaking trees, bending grass and grain 

stalks, moving water into waves, etc.; 

(b) sound of wind: soft murmur, loud roar, etc.; 

(c) work of wind: moving boats, whirling mills, running 

machinery, furnishing power for many other in- 
dustries. 

5. The greatness of our earth. 

6. The greatness of the soul or mind of a little child that lives 

on our earth. 



LESSON PLANS AND TYPE LESSONS 269 

The Child's World, Page 1 

This is a poem of nature. 

The central theme of the poem is the child's wonder at 
the great earth and the wonderful things he is learning about 
it, and his dawning realization of the greatness of his own 
mind or soul. 

Specific Preparation. — The teacher's aim here should be 
double : to help the child, first, to find in the poem clear and 
beautiful expression of his vague wonder at the wonderful 
things he has learned about the great earth, and second, to 
a realization of the greatness and value of his own soul. The 
last aim may influence, but should not enter into, the dis- 
cussion of the lesson to any great extent. The idea requires 
delicate handling and should be left to develop mostly by 
itself, having been once clearly suggested. 

The teacher may call the next step the "assignment" or 
"setting the class problem" or "stating the child's aim." 
She will speak somewhat as follows: "We are going to read 
in this poem what a child thought about the great world in 
which we live, and what he found was greater than the 
whole earth. I wish you to read the poem silently and then 
tell me what it was that was greatest." The child reads 
the poem silently. Then, after the teacher has read it 
aloud, the children read it orally, also. 

Discussion Recapitulatory. — This is followed by a dis- 
cussion of the poem: 

Do you like this poem? Why do you like it? Which 
lines do you like best? Have you ever been anywhere 
that you could feel and see and hear the things described 
in the second stanza? When and where was it? How can 
the wind walk on the water? How can it talk to itself on 
the hill? What could you feel, but not see? What could 
you feel and hear, but not see? 



270 THE HALIBURTON TEACHER'S MANUAL 

What words rime in the first stanza? in other stanzas? 

In the first line, how many words begin with the same 
letter? (Three: wide, wonderful, world.) In the second line? 
(Three: with, wonderful, waters.) (In this way the teacher 
may help the child to find all the instances of alliteration 
and thus introduce him to the fact that this repetition 
of the same sound helps to make the "music of the 
words.") 

Discussion Preparatory. — The discussion that follows the 
reading of this poem should also prepare the class for the 
next selection, and may be continued as follows: 

(1) On what do we live? Does the great ball move? 
What two movements has it? (Rolls around the sun, 
turns over and over.) What about the distance it rolls over 
as it goes around the sun? What about the direction in which 
it turns over and over? (Always in the same direction.) 
What is happening to our side of the ball when we say it is 
sunrise? (Earth is turning our side of its surface toward 
the sun.) What is happening when we say it is sunset? 
(Earth is turning our side away from the sun.) When it 
is sunrise for us, what is it for the people on the other side 
of our ball, — the side opposite to us? (It is sunset for them.) 
When it is midday with us, what is it for those people on the 
other side of our ball? 

(2) Of what is the outside, the rind or surface, of our ball 
made up? Name every different form of the land which 
makes part of our ball. (Prairies, plains, deserts, valleys, 
hills, mountains, isles, or islands.) What do we find growing 
on land? (Trees, forests, grass, grains, flowers.) What 
are built on land? (Villages, towns, cities.) There are 
places in the rind or surface of our ball that are filled with 
water. Name all the different places for water, or all the 
bodies of water, you can think of. (Seas, oceans, lakes, rivers, 
ponds, etc.) How is water "curled" around our globe? 



LESSON PLANS AND TYPE LESSONS 271 

Why do we say that water is wonderful? Tell all you can 
about it that is wonderful. 

(3) Can you see the air? How can you tell when air is 
moving? (Feel it.) Where is the air? What is wonderful 
about the air? Tell everything you can that is wonderful 
about air. 

(4) Can you see the wind? What have you seen the wind 
doing to trees? to grass? to growing wheat? What do we 
mean when we say, "wheatfields that nod"? Can wind 
do any work for us? How? (Turn machinery, push boats, 
etc.) How many of you ever saw the wind blowing the sea 
into great waves as it swept over it? What do we mean when 
we say the wind "walks on the water"? What kind of noise 
does the wind make? How does the wind sound when it 
blows through the trees? What do we mean by saying that 
the wind "talks to itself on the top of the hills"? 

(5) Should we love our great ball? What does it do for 
us? Does it give us our food? How? Does it give us our 
clothing? How? Does it give us our shelter? How? 
Then can we rightly call it a "friendly" earth? Are there 
many people on the earth? What do we mean when we 
say, "And people upon you for thousands of miles"? Is 
there anything beautiful about our earth? What things of 
great beauty can you name? Are there many wonderful 
things about our earth? Name some of them. Would it 
be possible for you to name all the wonderful things about 
our earth? 

(6) We know that our earth is great and wonderful. Is 
there anything on the earth greater than the earth itself? 
What is it? In what way is every little child that lives on 
the earth greater than the earth itself? 

Although such thorough preparation for sight reading 
and the testing of this preparation takes several periods 



272 THE HALIBURTON TEACHER'S MANUAL 

allotted to nature study or physical geography, the teacher 
will find that it pays as Geography work and Language work, 
as well as work in Reading. After such preparation, the 
children will read orally with enjoyment and their reading 
will be thoughtful; that is, full of thought. 

Seat Work. — The seat work correlated with this lesson 
should follow; it may be suggested by the teacher thus: 
"Draw a picture as well as you can to show what is meant by 
the lines: ' the wonderful grass upon your breast,' or ' the won- 
derful wind is shaking the trees,' or 'it whirls the mills,' 
or 'the wheatfields that nod,' or 'the rivers that flow.' 
Make a picture of anything one of these lines suggests to 

you." 

On the Other Side of the Ball, Page 2 

Word Study. — At the period for word study the teacher 
should hold a drill in syllabication on the following words: 

sur face di rec tion 

coun tries glo ri ous 

re al ly won der ful 

op po site im ag i na ry 

This being an informational selection, it should be given 
first as an exercise in silent reading. 

Preparation. — The preparation has been given as an exer- 
cise in Geography before the first lesson in the book was read. 

Assignment and Discussion. — The entire lesson may be 
assigned to the children to be read as a whole before reread- 
ing it to answer the following questions on the board: 

What can you say of the setting of the sun? What can 
you say of the rising of the sun? Of what do the setting and 
the rising sun make you think? What is really happening 
when the sun seems to be going down below the horizon? 
What is really happening when we see the rising sun? Of 



LESSON PLANS AND TYPE LESSONS 273 

whom does the setting and rising sun make you think, and 
what does it make you wish? 

If the children can, after this study lesson, stand and, with 
books closed, give full complete answers to these questions, 
they do not need to read their lesson orally. 

Good-night and Good-morning, Pages 3-% 

This is a poem of child life. 

The lesson of the poem is the quiet happiness of the good 
child who loved everything around her. There are a few 
points that should be made clear by the teacher before the 
children attempt to read the poem. 

Word Study. — A drill in syllabication may be held on the 
following words: sew ing . cu ri ous 

curt sied fa vor ite vi o lets 

Preparation. — The teacher's questions may be as follows: 

How many know what rooks are? Do you know any bird 
that sings, "Caw! Caw!"? Yes, the crows. What kind of 
bird is a crow? Well, a rook is a bird that lives in Europe. 
It is a kind of crow, being about the size of a crow and as 
black as our American crows. If you were to see a flock of 
rooks circling about in their curious flight, you'd take them 
for our common crows. 

Have you ever been on a farm and heard the animals call- 
ing to each other and to the people who take care of them? 
What noise do horses make? oxen? sheep? 

One or two more questions and then we will study our 
poem. — How many of you have seen a tall wild flower, some- 
times purple and sometimes yellow, called the foxglove? 
There used to be a quaint belief that the fox slipped these 
flowers on his paws like gloves so that he could move about 
more noiselessly, hence the name foxgloves. In England 
the foxgloves are often pink, and grow on tall stems in the 



274 THE HALIBURTON TEACHER'S MANUAL 

flower gardens. I know you have seen the pretty, modest 
little violet, that bends over as if it had just bowed or 
curtsied to you. 

These are some of the things mentioned in the poem we 
are to read. It was written by an English nobleman, Lord 
Houghton, about a good little English girl named Lucy, 
who is saying good-night to the things on this beautiful 
old earth of which we have been reading. Before I read it 
to you, I wish you to read it silently. You may write on 
your paper any word you cannot get after you have tried 
all your "keys." Then I'll ask you some questions. 

Discussion. — Where was the little girl? What time of 
the day was it? What was she doing? What did she say? 
What did she see over her head? What did she say to them? 
What sounds came from the road? What did all those 
animals seem to say? What about the setting sun? Why 
did Lucy not say good-night to it? How did the flowers go 
to bed? How did Lucy go to bed? What about Lucy 
as she slept through the night? What about the morning? 

The teacher reads the poem to the children before having 
them read it aloud. After the reading she should discuss 
the poem with the class, as follows : The poem calls the little 
girl "good little Lucy"; what do you think about her? Do 
you think she was a happy little girl? What do you think 
made her happy? How do you think she felt toward the 
rooks and all the things that were saying "good-night"? 

Seat Work. — The seat work should be correlated with 
the poem and may be suggested thus by the teacher: 

The artist has made one picture for our poem. If you were 
to write just beneath this picture the words from the poem 
which tell that the picture shows, what would you write? 
Look at the picture, then look over the poem again and find 
the line. ("And while on her pillow she softly lay.") 



LESSON PLANS AND TYPE LESSONS 275 

Could the artist have made another picture of Lucy? 
What would the picture show? What line would you 
put under it? ("A fair little girl sat under a tree.") 

What picture could you make from the second stanza? 
What line would you put under your picture? ("Crying, 
Caw, Caw! on their way to bed," or, "Little black things, 
good-night, good-night!") What picture could you make 
from the third stanza? What words would you put under 
it? What from the fourth stanza? from the fifth stanza? 
Make any of these pictures you wish to make. 

The Kingdom of the Rising Sun, Pages 5-10 

Word Study. — A drill in syllabication should be given on 
the new words that occur in these pages. These drills in 
syllabifying should be made a test of the children's knowl- 
edge of the important point as to what sound should be given 
to each vowel when it ends a syllable or constitutes a syl- 
lable in itself. When the words are on the board for drill, 
the teacher should strike with the chalk the syllable to be 
accented, and "strike with the voice" that same syllable in 
pronouncing the word later: 

is' lands vol ca' no 

bam boo' re mem' ber 

san' dais O Ki' ku 

earth' quakes fes' ti val 

chrys an' the mums 

Preparatory Talk. — The teacher should try to have before 
the class specimens of Japanese ware, screens, fans, umbrellas, 
and other articles that are made partly of bamboo : Japanese 
mats, napkins, sandals, kimonos, etc. In the preparatory 
talk the teacher should show Japan on a globe or on a good 
map, the globe being the better of the two. 

She should bring out such facts as: 



276 THE HALIBURTON TEACHER'S MANUAL 

(1) Japan is nearly opposite to us, being on the other side 
of our globe from us. 

(2) Japan is made up of islands, some large, some small, 
all lying out in the sea to the east of the countries in Asia. 

(3) The country is mountainous, there being many vol- 
canoes among the mountains and ridges (teacher sees to it that 
class understands what a volcano is). She should explain 
the difference between an active and an extinct volcano, 
and show pictures of the sacred mountain (an extinct 
volcano) and other pictures of Japan and the Japanese. 

Assignment. — As an assignment the following may be 
given: "Read the lesson carefully so as to be able to tell 
whether you think Japan a desirable country to live in, 
and be able to give reasons for your answer." 

As this is an informational selection, it calls for a silent 
reading after it has been studied. An outline to be followed 
in studying may be given on the board: 

1. Tell where Japan is; in what direction from us. Of 

what is it made up? 

2. What the Japanese call their country. Is it a suitable 

name? Why? 

3. Describe the Japanese flag. Tell what it represents. 
J/.. What of the islands and mountains of Japan? 

5. Tell all you can about the Japanese houses, — size, 

material, walls, rooms, etc.; why so constructed. 

6. Tell about the furniture of the Japanese houses. 

7. Tell about the food of the Japanese; how they eat, how 

they sleep, what they wear on their feet. 

8. When is there a great deal of rain in Japan? 

9. How do the people of Japan get along without carriages 

and automobiles? 

10. What of the Japanese people and their flowers? 

11. What of girls* names? 



LESSON PLANS AND TYPE LESSONS 277 

12. Tell all you can about the flower feasts or festivals. 

13. What about Japanese children? 

After the pupils have studied the lesson, the teacher may 
walk quietly among them asking questions (not necessarily 
those that have been on the board), to which the children give 
answers found by glancing at the page or in remembering 
what they have just read. 

The Wind, Pages 10-11 

This poem of Robert Louis Stevenson's is familiar to most 
children not only as a poem, but also as a song. It is in- 
troduced here because of the thought connection between 
a poem on the wind and the Japanese people's love of kite- 
flying during the windy season of the year. 

The teacher may read the poem aloud to the class before 
they are asked to read it orally; but they should first read it 
silently after the teacher makes the assignment: "See if 
you can tell me, after reading this poem, what you saw, 
what you heard, and what you felt in this poem." 



Yoshi-San and O-Kiku, Pages 11-16 

Word Study. — A drill in syllabication may be held on the 
following words taken from the lesson : 

sleeves cur rent Ta ro 

swords tur tie Yo shi-San 

re ceives he ro slant ing ly 

Assignment. — The assignment may be: Which children 
do you think have happier lives, those of the far desert 
lands or those who live in the Kingdom of the Rising Sun? 

Guiding Outline. — An outline to guide the silent reading 
or study lesson may be as follows: 



278 THE HALIBURTON TEACHER'S MANUAL 

Read the lines that tell 

1. about Yoshi-San and O-Kihu; 

2. how they dress and look {first four paragraphs); 

3. about the Japanese children's holidays, 

(a) New Year's Day, 

(b) Feast of Dolls (paragraphs 5, 6, 7, 8, and 9), 

(c) Feast of Flags (paragraphs 10, 11, 12, IS, and 14), 

(d) Kite times in Japan (paragraphs 15, 16, and 17); 

4. The Japanese children, schools, stories, pets. 

(a) What do you like best about the Japanese children? 

The Mermaid, Pages 17-18 

This is a poem of fancy, introducing many ideas new and 
strange to the children. 

Preparation. — The teacher should tell of the ancient 
belief — still cherished in the remote parts of the world by 
a few old fisher folk — that there live under the sea strange 
creatures, half-human, half-fish (that is, from the waist up 
human and from the waist down fish), the men called mer- 
men (mer means sea) and the women, mermaids. 

The mermaids were said to be strangely beautiful crea- 
tures, with gleaming eyes the color of the deep green sea and 
long hair which floated through the water in long golden 
ringlets or curls. Sometimes these mermaids spent a great 
deal of their time playing with the fishes, turtles, or other sea 
animals, and might be seen flashing and shining in the deep 
green water, laughing aloud as they chased the fishes, 
"darting between the rocks and shells and waving sea ferns"; 
and then, mounting the backs of the fish or turtles, they would 
be carried swiftly from one part of the sea to another. 

Sometimes somebody might think he saw one of these 
mermaids sitting alone on a throne of gold, under the sea, 
wearing a crown of starry seabuds or flowers, and combing 



LESSON PLANS AND TYPE LESSONS 279 

her golden hair with a comb of pearl, her long ringlets 
falling far down and floating all around her until she looked 
like a fountain of gold springing up in the midst of the sea 
hall, and singing, as she sat there all alone, one of her strange 
and beautiful songs. 

Here is a poem about the mermaid, written by the great 
English poet, Tennyson; and as we read it, we can almost 
believe we hear the little mermaid singing these words 
about herself. (The teacher reads the poem aloud; after- 
wards the class will read it.) 



Taro and the Turtle, Pages 18-26 

Word Study. — The drill in syllabication may be on the 
following words: 



pal ace 


stran gers 


im ag ine 


crys tal 


per haps 


neck lac es 


wel come 


vil lage 


lone li ness 


grot toes 


prom ise 


U rash i ma 


ves sel 


wrin kles 





Preparation. — There is little or no preparation needed 
for this lesson except the teacher showing specimens of coral, 
sea- weeds, shells, etc., and telling about crystal, how it 
differs from ordinary glass, how beautiful and costly it is, 
etc., also about turtles and other creatures that live in the sea. 

This is a long story and should be divided into separate 
parts. The best basis for division in this story is that of 
the "situations" or episodes in it. 

Assignment. — As a study lesson — that is, one in which 
the teacher works with the class — the teacher may begin 
by saying: "Let us read this story to find each place in it 
where something very important happens. We will call 
these places situations. As you find the different situations 



280 THE HALIBURTON TEACHER'S MANUAL 

and tell me what they are, I will write them on the board." 
They should be as follows : 

1. The part of the story in which Taro went out fishing. 

2. In which Taro went fishing again and talked with the turtle. 

3. In which the turtle carried Taro to the Sea-King's palace 

under the ocean. 

4. In which Taro came near the surface of the ocean and saw 

the sailing vessel and heard the shouts of the children 
on the shore. 

5. In which the turtle landed Taro on the land again. 

6. In which Taro found that he had been under the ocean 

three hundred years. 

7. In which Taro opened the shell box. 

8. The climax, in which Taro is changed into an old, old man 

and dies. 

Discussion. — After this study lesson the teacher may 
lead to a discussion of the lesson by asking: 

Why did Taro want to go with the turtle under the ocean? 
Was it wrong for Taro to go? What should he have done 
before consenting to go with the turtle? Was it wrong for 
Taro to open the shell box? Why? What if he had kept 
his promise instead of breaking it? 

Under the Sea, Pages 26-27 

Word Study. — For word study and drill in syllabication 
the following words may be given: 

nib bling mis chie vous 

mir ror mur mur ing 

for feit lull a by 

seal y 
Preparation. — When the teacher prepared the pupils to 
read the poem on page 17, she gave the preparation for this 
poem also, which is another poem of fancy. One way of 



LESSON PLANS AND TYPE LESSONS 281 

helping pupils to read a poem of rather difficult meter is to 
question them, letting them find the answers as they read 
silently one stanza and then another. The teacher may 
begin by saying: 

The name of this poem tells where we are to imagine our- 
selves to be while we are reading it. Where is it? What 
color does the water of the sea look? (Green.) Whom 
shall we see down in the water? (Little Mermaid.) What 
about her as she turns? (Flashes.) It is plain to be seen 
that she is having a good time; what is she doing? (Chasing 
the fishes.) What can you hear her do as she follows them? 
(Laughs.) Between what does she go darting swiftly? 
(Between the rocks and the shells and the waving sea ferns.) 

What have the fishes been doing, perhaps? That was 
while she was doing what? Perhaps she cried out something 
to the fishes that nibbled her hair. What did she say? ("O! 
that's not fair!" etc., through the third stanza.) 

What is seen then in the pale green water? (A silvery 
streak.) Ah! what has Little Mermaid done? (Caught 
one of the fishes.) What can you hear? (Her laugh.) 
What did she say to Old White-Fin, the fish she caught? 
(Read last three lines of fourth stanza.) 

So what does she do all day? With what does she play? 
What about her at night? Who keeps a close watch over 
her? What sings a lullaby to her? 

After such an analysis of the poem by the pupils, the 
teacher should caution pupils against dropping the voice, or 
pausing slightly, at the end of a line if the thought of the 
line does not require it. In reading this poem the pupils 
should not drop the voice after the words green and between 
at the end of the first and fourth lines in the first stanza; 
after spare at the end of fourth line in second stanza; after 
or at the end of fourth line of fourth stanza. 



282 THE HALIBURTON TEACHER'S MANUAL 

This poem requires careful practice on the part of the 
teacher in reading aloud, before she reads it aloud the first 
time for the pupils. The poem on page 17 may be read 
again as a review in the same period with this poem. 

The first lesson group in the book consists of the three 
selections introductory to the whole book. With this poem 
ends the second lesson group of the book. 



The Deep Hole, Page 28 

The teacher should recall here the facts, but lately de- 
veloped, of other countries and other children on the opposite 
side of our globe from us. 

She should describe those parts of the ball's surface which 
are so hot and dry — wide, wide plains covered with sand 
and rocks, which we call deserts, countries where palm trees 
grow on the oases and where lions roam over the sand. She 
should try to give the class as clear and distinct an idea of a 
desert as possible. Pictures of deserts, of caravans, of camels, 
of palm trees, etc., will be needed in the lessons that follow 
this poem, and so the reference here to desert, palm trees, 
etc., should be illustrated by these pictures and talks, which 
may have to be given again for the next lesson also. 

This poem embodies an idea that often lies in the child 
mind. Many an adult remembers to have wondered, when a 
young child, whether, if by digging and digging and digging, 
one could ever make a hole "clear through the earth" and 
"come out on the other side" where the children are just 
going to bed when we are ready to get up. 

Preparatory Talk. — The teacher may try to get hold of 
these vague ideas in her pupils' minds by questioning them, 
and may then tell about the little boy who had these same 
ideas and who tried to dig "The Deep Hole." She says: 

" Did you ever think whether a deep hole could be dug clear 



LESSON PLANS AND TYPE LESSONS 283 

through the earth? and did you wonder where you would 
come out if you could go down into such a deep hole and 
go through the earth? This poem tells of a little boy who 
had such an idea, and who once began, just before tea-time, 
or supper time, to dig and dig just as fast as he could, with 
his shovel, in the sand by the sea. He had dug a pretty deep 
hole when he heard the tea bell, or supper bell. Now, he 
had an idea that another little boy on the other side of the 
earth was digging, too, digging toward this side of the earth. 
So he was afraid to leave the hole open which he had dug in 
the sand, for the sea might come up — as it did every day — 
might fill the hole, and drown the little boy below. Let us 
read what the little boy who was digging the hole says." 

In Far Desert Lands, Pages 29-33 

Word Study. — A drill in syllabication may be given on 
the following words: 

Ar abs cam els A ra bi a 

sul tan jour ney es pe cial ly 

ca liph stom ach 

Preparation. — The teacher should have in readiness her 
globe and maps, pictures of Arabs riding, tenting, etc., pic- 
tures of Arabian horses, of camels, caravans, of ostriches, 
palm trees; different views of deserts, etc. The Desert of 
Arabia should be located on maps, also the country of Turkey. 
An outline on the blackboard for study may be as follows : 

1. The people of Arabia: what called; their cities, towns, 

houses; by whom ruled. 

2. The climate of Arabia: absence of snow, scarcity of water, 

water carried in what way? 

3. The Desert of Arabia: sand and rocks; oases, what 

makes them; people of the desert, in what they live, 
what they have for food, how they treat their horses, etc. 



284 THE HALIBURTON TEACHER'S MANUAL 

4. The camel of the desert: how loaded; how suited to the 
desert, (a) legs and feet, (b) eyes and nose, (c) stom- 
ach and back, (d) how it furnishes the Arabs with 
milk and food, (e) how it furnishes them with cloth. 

This is an informational selection and should be read 
silently after it is studied. The teacher's questions during 
the silent reading lesson should be based on the foregoing 
outline. During this lesson the teacher should give any 
additional facts which may be helpful to the children's 
understanding and appreciation of the subject matter. 

Two Children of the Desert, Pages 33-1^1 

Word Study. — A drill on syllabication may be given on 
the following words: '■ 



Ah med 


di rect 


car a vans 


bar ley 


os trich 


Zo bei de 


pub lie 


Ko ran 


(Zo ba' da) 


tur ban 


Bible 




ex cept 


emp ty 





Aim. — The teacher should try, in this and subsequent 
selections, not only to give the pupils information of other 
lands, but to interest them in the children who live there. 

Assignment. — We are going to read about a little boy and 
girl whose home was in a desert. After you have read it, I 
want you to tell me some of the differences between their 
life and home and yours; and which you think best. 

The outline for a silent reading or a study lesson: 

I. Read the lines that tell 

(1) who Ahmed and Zobeide were; 

{2) what their father has to do, and why; 

(3) how the family spend the day during the hot season; 

(4) how they spend the night; 



LESSON PLANS AND TYPE LESSONS 285 

(5) what Ahmed) his father, mother and sister were 

doing one hot evening (fourth paragraph and two 
lines of fifth paragraph) ; 

(6) how the cakes for supper were made; 

(7) how Zobeide and her mother were dressed; 

(8) how Ahmed and his father were dressed; 

(9) what kind of people Ahmed's father and mother are, 

and how they look; 

(10) how Zobeide and her mother, and all other Arabian 

girls and women, do at meal times. 

(11) Tell what Ahmed and his family did after supper 

had been eaten. 

(12) Tell how the camels were loaded and the journey 

started. 

(13) Who was in front and who behind in the little 

caravan? 
(lit) Describe the night on the desert (lJfth, 15th, 16th, 
and 17th paragraphs. This part of the lesson 
may be made very impressive by the teacher read- 
ing it aloud, or describing to the class the " night 
on the desert," while the pupils close their eyes 
and try to see the picture). 
II. (1) What about when Zobeide waked? 

(2) Describe the sandstorm that came up. (Second or 

third paragraphs can be made to mean much to 
the children by the teacher reading them aloud 
expressively, while the children close their eyes and 
try to picture the scene.) 

(3) What did they do after the sandstorm? 

(Ji) Tell what Ahmed shouted to Zobeide early next 
morning. 

(5) What did Zobeide know it was? 

(6) Tell about the ostrich, its nest and eggs, and how 

Ahmed felt about them. 



286 THE HALIBURTON TEACHER'S MANUAL 

(7) What about the camels? What did Ahmed cry out? 

(8) Tell what they saw and heard; what had they reached? 

(9) Tell what they did then. Tell about Zobeide's doll 

and her work. 

(10) Tell about the Koran and the Arabian stories. 

(11) What was the lovely part of Ahmed and Zobeide's 

life in their desert home? 

Discussion. — What do you think of Ahmed and Zobeide's 
home? What did you like about it? What do you think of 
their manner of living? Should you rather live in Japan or 
Arabia? Why? Should you like to exchange your home 
for that of Ahmed and Zobeide? In what way is your home 
better than theirs? What in your lives is so much better? 

Summer Sun, Page 1^1 

These verses make a fit sequel to the preceding lesson if 
the thought of the poem is clearly apprehended by the pupils. 

The teacher should read the verses aloud after having 
developed the thought by some such questions as these: 

Have you ever noticed the sun on a very hot summer day, 
when it is so bright and glowing that you cannot look at 
it for even half a second? Have you noticed how blue the 
sky is sometimes on hot summer days? If you have, you 
will know what the poet means when he calls such a day a 
"blue and glowing day." 

The sun's rays fall upon us so bright and hot that we 
realize what the poet means when he says of the sun, "He 
showers his rays more thick than rain." As the sun rises in 
the morning, going higher and higher in the wide empty sky, 
we feel how great the sun is. He seems to be going slowly 
up, up, on and on, then down, down, without stopping for 
rest or repose, and we know what Robert Louis Stevenson 
means when he says, 



LESSON PLANS AND TYPE LESSONS 287 

"Great is the sun, and wide he goes 
Through empty heaven without repose." 
He says the sun travels "Above the hills, along the blue," — 
meaning the blue sky. 

If it were not for the sun there would be no bright beau- 
tiful flowers to please you children. So Stevenson says that 
the sun "paints the rose to please the child," and then he 
calls the sun, which makes everything grow and keeps 
everything alive, "the gardener of the world." 

Listen while I read all this just as Stevenson says it. 

Hassan and his Horse; The Arab to his Horse, 
Pages l{.2-kk 

Word Study. — A drill in syllabication may be given on 
the new words : com pare dar ling 

sad die scant y 

shoul der fore head 

cap tives stud ded 

Assignment. — The outline for this lesson may be: 

1. Ahmed' 's father sings a song. Of what does it tell? 

2. Tell about the horse that Hassan owned. (Second, third, 

and fourth stanzas.) 

3. Tell what happened once to Hassan and some other Arabs. 

(Made captives by Turks, men and horses tied; Hassan 
dragged himself to his horse; what Hassan said; what 
Hassan then did; what the horse did; where he took 
Hassan; what happened then; what Arab people and 
poets did.) 
Without any further preparation of the class, the teacher 
may read the poem aloud. They will very probably under- 
stand most of the phrases and references used in the poem. 
But in the discussion which should follow the teacher will 
make sure that they understand all. 



288 THE HALIBURTON TEACHER'S MANUAL 

After reading the poem aloud, the teacher may ask pupils 
to look in their books and find phrases of poem referred to 
when she asks: 

What is barley? What did Hassan mean when he said 
(first stanza): "Fear not though the barley sack be empty; 
Here's the half of Hassan's scanty bread"? 
What does an Arab mean by a water-skin? What did 
Hassan mean by saying (second stanza): "And thou 
knowest my water-skin is free"? How can a horse's reins 
be diamond-studded? What did Hassan mean when he 
spoke (fourth stanza) of the Sultan's horses "prancing with 
their diamond-studded reins"? What do we mean by a 
horse's fleetness? Why couldn't the Sultan's horses match 
the fleetness of Hassan's horse? What do we mean by 
"desert plains"? When does a horse course a desert plain? 
What did Hassan mean when he said that the Sultan's 
horses would course the desert plains with his horse? 

The children will read the poem with more enjoyment 
if they understand perfectly all unusual terms found in it. 



The Story of All Cogia, Pages J^5-59 

Word Study. — One or more exercises in syllabication 
may be given on the following words : 



ol ives 


re stored 


a greed 


mer chant 


no tice 


ad mire 


ware house 


cer tain ly 


jus tice 


mould y 


of fi cers 


con demn 


re placed 


dis hon est 


con fessed 


de clared 


quar rel 


es cape 


or dered 


tri al 


pun ished 


ex act 


Viz ier 


mod est ly 


pris on 


pre vent 


in tel li gent 



LESSON PLANS AND TYPE LESSONS 289 

Assignment. — This lesson falls naturally into distinct 
parts. The teacher may give the following outline for 
guidance in the silent reading or study lesson: 
/. Ali Cogia and his gold. 

(1) Ali Cogia wishes to journey across the desert; fears 

to take gold. 

(2) Hits upon a plan for keeping gold safe. 

(a) Puts gold in jar of olives. 

(b) Asks merchant friend to keep jar of olives. 

(c) Merchant agrees and Ali Cogia departs. 
II. The merchant and the gold. 

(1) Merchant* s wife wishes for some olives. 

(2) Merchant thinks of Ali Cogia' 's jar of olives. 

(3) Merchant opens jar, finds the gold. 

(ji) Merchant plans to keep gold without being found out. 
(5) Takes out gold, refills jar with fresh olives. 

III. Ali Cogia's return. 

(1) Ali Cogia returns, goes to merchant to get his jar. 

(2) Finds that gold is gone. 

(3) Returns to merchant and tells of his loss. 

(4) Merchant, angry, orders Ali Cogia from his house. 

(5) Merchant and Ali Cogia quarrel. 

(6) Ali Cogia carries merchant to judge for trial. 

(7) Judge releases merchant. 

(8) Ali Cogia writes and asks Caliph to try his case; 

Caliph agrees. 

IV. The Caliph and the boys. 

(1) Caliph and Grand Vizier overhear boys at play. 

(2) Watch and listen to boys* mock trial. 

V. The mock trial. (Dramatization, pages 51-56.) 
VI. The Caliph and the boy judge. 

(1) Play ends, boy runs home. 

(2) Caliph orders Grand Vizier to bring to him next 

morning the boy judge, the dishonest merchant, 



290 THE HALIBURTON TEACHER'S MANUAL 

the judge who freed the dishonest merchant, Ali 

Cogia, and two olive merchants. 
(3) Grand Vizier goes to the boy judge's home, takes him 

to Caliph: 
(J/) Caliph commands boy judge to try the case of Ali 

Cogia and dishonest merchant. 

(5) Caliph condemns merchant. 

(6) Merchant confesses, tells where Ali Cogia will find 

the gold, then goes to prison. 

(7) Caliph reproves the real judge, praises and rewards 

boy judge. 

(8) Tell name of book from which this story is taken. 



The Land of Storybooks, Pages 59-60 

Preparatory Discussion. — How many of you have some 
storybooks at home? Who will tell me the names of some 
of the storybooks that you have? You play at stories here 
at school. Do you ever play at stories at home? Do you 
ever play at stories all by yourself? I don't suppose you 
do. Robert Louis Stevenson, who wrote this poem, used to 
love his storybooks very much. He had a great many of 
them. He read them so often that he knew just how the 
stories ran. I do not mean that he knew how the words 
ran. He knew how the stories ran and he could just put in 
words that were something like those in the story or that 
meant the same things. He used to play at stories all by 
himself before bedtime while his parents and his aunts sat 
around the fire talking and sometimes singing. 

Louis knew many stories about Indians and hunters. Do 
you know any stories of that kind? Do you know what is 
meant by an Indian scout? (Teacher explains the word 
scout.) Would you be frightened if you saw an Indian scout 
as he prowled about near your house after dark? (Teacher 



LESSON PLANS AND TYPE LESSONS 291 

explains proivled.) Have you read or heard any stories 
about lions roaring through the wild woods? Should you be 
frightened if you were near a lion as he stopped on the brink 
of a stream to drink? (Teacher explains the word brink.) 

If you were far, far away, miles away from everyone, in a 
great forest or on a great plain, you would be in the kind of 
lonely place called a great solitude. If you were there in the 
night and the stars were shining above you, you would be in 
the kind of lonely place that you could call a starry solitude. 
While his parents and his aunts sat around the fire and 
talked or sang, as they sometimes did, Louis played at some 
storybook he loved. There was a big old sofa in the room. 
It had a high back. Louis used to sit or lie there in the day- 
time and read his storybooks. At night he played behind it, 
where the shadow was dark. This was his make-believe 
forest. He then played that he was an Indian scout, and 
that his parents and aunts around the fire were white people 
in their firelit camp. Again, he would play that he was a 
hunter and had his camp behind the sofa. 

I shall read you the poem which tells us how he played. 

Discussion. — Whom did you see as I read the poem? 
Who were sitting around the fire? What time is it, day 
time or night time? What were the people around the fire 
doing? Where was the little boy crawling? Where did he 
stop? Whom was he watching? What did he have in his 
hand? Whom did he see coming into the room? Whom did 
she lead away? 

Answers given by the children should be written on the 
board by the teacher: I saw some grown-up people and a 
little boy. The grown-up people were sitting around a fire. 
It was night time. The grown-up people were talking and 
singing. The little boy was crawling around the room by 
the wall. He stopped behind the sofa with a high back. He 
was watching the people around the fire. He had a little 



292 THE HALIBURTON TEACHER'S MANUAL 

gun in his hand. Then I saw a kind looking woman come 
into the room. She led the little boy away. 

There is a stanza in another of Stevenson's poems, called 
"Good-night," which I wish you children would learn by 
heart. It is Louis's good-night to his father (whom he calls 
his sire), to his mother, to his uncle and his aunt, who have 
all told him such interesting stories, as he sat with them 
around the fire when he was not playing. He calls his uncle 
and his aunt "brother" and "sister." This is the stanza: 

"Farewell, O brother, sister, sire, 
O pleasant party round the fire ! 
The songs you sing, the tales you tell, 
Till far to-morrow, fare ye well!" 

All Things Beautiful, Page 61 

This poem is so simple, both in thought and in wording, 
that the children will need no preparation in order to read it 
understandingly. The only phrase that may need some 
slight explanation is the purple-headed mountain. The 
pupils may be asked to read the poem silently. Then the 
teacher may say: "We are going to read a poem about some 
of the beautiful things in the world and who made them. I'll 
read the first stanza aloud. Now I wish all of you to read 
the second stanza silently. Then someone may tell me what 
beautiful things are mentioned in that stanza and who 
made them. Read the third stanza. What beautiful things 
are mentioned? Now the fourth stanza. What beautiful 
things are mentioned? What else does the stanza tell us? 
Now the fifth stanza. What does it tell us? Now we are 
ready to read the poem aloud." 



LESSON PLANS AND TYPE LESSONS 293 

The Land of Blue Skies, Pages 62-65 

Word Study. — A drill in syllabication may be held on 
the following words: 

tor rents fo li age pi geons 

lau rel car ri er Ital ian 

myr tie cit rons gon do las 

It a ly Ven ice en e mies 

Preparation. — There are certain geographical facts that 
can be more effectively taught here in connection with these 
reading lessons than anywhere else. The teacher should 
show Italy on the globe or map, calling attention to the 
waters of the Mediterranean Sea that so nearly surround 
the country. This is the time to explain how a great city 
like Venice can be built upon islands and yet be a part of 
the country. The class should be told that Italy is made 
up of mountains, valleys, and wide plains. In speaking of 
and pointing out the wide plains of Italy, the teacher should 
trace the rivers, using and explaining the expression wind- 
ing rivers. In speaking of and pointing out the hills and 
mountains and valleys, the teacher must use the terms 
wooded mountains, show purple in the distance, beetling rocks, 
torrent spray, swift mountain torrents, dash out into the sun- 
light, down in the valleys, villages nestle on the hillside, etc. 
In connection with the trees, the terms dark foliage, citron 
bowers, dusky grove, golden orange, myrtle, laurel, olives, etc., 
should be used. In connection with the cities and their 
buildings, noble churches, palaces, and castles should be rein- 
forced by good pictures of Italy, Italian cities, — particularly 
of Venice, palaces, castles, gondolas, etc. The gondola and 
the gondolier should be described. 

Assignment. — Read the lesson silently. Then tell me 
whether you'd like to visit Italy rather than Japan and why; 



294 THE HALIBURTON TEACHER'S MANUAL 

also what is the most beautiful of all the beautiful things 
described in this lesson and why you think so. 

The outline given for the study lesson on silent reading 
lesson may be as follows: 

1. Read the lines that tell some of the things that make 

Italy such a lovely land. By what pretty name is 
the country called? Why is it so called? 

2. Tell something about the rivers, the mountain torrents, 

wooded mountains, and hillsides. 

3. Tell something of the villages and cities, the churches, 

palaces, and castles. 

4. Tell all you can about Venice: (a) where it is built; 

(b) some of its buildings; (c) its streets; (d) its boats. 

5. Imagine you are in Venice. What will you see and hear? 

6. What of Venice in the day time? In the night time? 

The Dream Ship, Page 66 

Preparation. — This is a poem of fancy rather than a 
poem of nature. To prepare pupils for reading it, the follow- 
ing questions may be asked: 

How many have ever seen a ship? What are the masts of 
a ship? Of what are masts made? For what are they used? 
Which mast should you call the topmast? What are the 
sails of a ship? What are they used for? Of what are they 
made? What is meant by reefing a sail? What is meant 
by furling a sail? When do men reef the sails of a ship? 
(When a great wind storm comes up.) Why must they be 
reefed? What is a stormy gale? What are the spars of a 
ship? What do we call the men who take care of a ship 
and who run it? What do we call all the sailors and the 
other men who work on the ship? Yes, the crew. Where 
do the sailors work? Why do they have to climb up on the 
masts, even up on the topmast, and work among the spars? 



LESSON PLANS AND TYPE LESSONS 295 

How many know what we mean by gulfs and bays? (Parts 
of the ocean.) Do you know the name by which people 
speak of great numbers of fish swimming along together? 
They speak of them as shoals of fish. If we wanted to go to 
the other side of the world, how should we have to go? Yes, 
a ship would have to bear us, or carry us, to the other side 
of the world. If it were a sailing ship, it would have masts 
and spars and sails, and the sailors would have to spread 
the sails to catch the wind so the ship could move, and 
they'd have to furl, or reef, the sails when the stormy gales 
began to blow. 

People very often think that the moon looks like a boat. 
I've seen it when I thought it looked like a slender little 
boat. But the poet who wrote the poem we are to read 
thought the moon looked like a ship. She calls it the 
Dream Ship. I think she calls it that because it is some- 
thing like a beautiful golden ship of which we sometimes 
dream. Did you ever look at the moon as you were walking 
along? Did it seem to be standing still or moving along 
as you walked? Yes, it seemed to move as you moved. 
Do you remember what you read in the last lesson about 
Venice on a night when the moon is shining? Yes, there 
were hundreds of boats filled with people gliding along the 
waterways of Venice. As they looked up at the sky what 
did they see? (The moon and the stars.) What did we 
read that the moon looked like? (A dream ship on high.) 

As the boats glided along the water, do you suppose the 
moon seemed to be standing still or moving along overhead? 
Yes, it seemed to be moving, and perhaps the people fancied 
it looked like a ship with masts made all of gold, a ship with 
splendid wide silken sails, rosy-red silken sails that hung 
fold on fold, some that spread below and some that spread 
aloft; sails that were never reefed, never furled, for that 
dream ship, the moon, fears no stormy gale. Perhaps they 



296 THE HALIBURTON TEACHER'S MANUAL 

fancied that the crew that worked among the spars of the 
dream ship were shadows, as so many things are in dreams, 
and that they could not be seen. As they watched the bright 
stars, the moon seemed to be moving among them, as a ship 
moves among shoals of swimming fish, and as they looked 
at the soft sky they fancied it looked like the purple gulfs 
and bays of the sea and they liked to imagine that the moon 
was a dream ship that would bear them "safe and soft" to 
"the other side of the world." 

Let us read how all these pretty fancies about the moon are 
put into our poem by the poet Blanche M. Channing. 

The Story of Mignon, Pages 67-76 

Word Study. — A drill in syllabication may be given on 
the following words: 



na tive 


in sist ed 


nim bly 


du ties 


com pan ions 


zith er 


peb bles 


tarn bour ine 


drag on 


knuck les 


per feet ly 


vi o lin 


fig ure 


seiz ing 


mel o dy 


Ian guage 


com fort 


mem o ry 


sol emn 


cor ners 


earn est ly 


de cid ed 


mo tion 


dif f er ent 



Preparation. — This story is one that should be told to 
the pupils before they attempt to read it. It falls into the 
three divisions indicated in the book. But, in preparing the 
story to be told to the children, the teacher may make 
four divisions, following the outline given below. It may 
be well to have the outline on the board and let the class 
see how it helps in telling the story. 

J. The stolen child; her memories of the lost home. 

After telling the story of this division the teacher may 
ask the following questions: How do people feel about Italy 



LESSON PLANS AND TYPE LESSONS 297 

after having seen it? What is the old story about, which 
we are to read? As the stolen child wandered in other 
countries, what did her mind picture? 

77. Wilhem finds and buys Mignon. 

Tell what a young man far from Italy was doing one 
morning. Whom did he see and what did he think about 
her? What did he do? What about the child? What was 
the child doing when Wilhelm saw her next? What did 
they say to each other? How did Mignon speak? 

What did Wilhelm wonder about the child and how did he 
feel about her? What was to take place that afternoon? 
What did Wilhelm see? What did he do and say? What 
did the showman say about Mignon? What had Mignon 
done while the showman talked? What did Wilhelm do 
and say then? What did the angry showman offer to do? 

What did Wilhelm pay the showman for Mignon? What 
was all that the showman would tell about Mignon? What 
did Mignon do when the rope dancers left town? What did 
she and Wilhelm say to each other? 

III. Mignon lives with and serves Wilhelm. 

How did Mignon serve Wilhelm, and how did she show 
her gratitude for Wilhelm's kindness to her? What about 
Mignon's appearance and dress as the days pass by? How 
was Mignon unlike other children? Who were Mignon's 
only companions? What is a harper? How would Mignon 
often amuse the baby? What is a tambourine? Describe 
the way in which Mignon played the tambourine. 

For what was Mignon always watching? What did she 
do one night? Who came in when everything was ready for 
the egg dance? Describe the way in which Mignon danced 
the egg dance. What about Wilhelm during the egg dance 
and afterward? What was the thought that made Mignon 
happy? What did the man with the violin tell? 

IV. Mignon sings her song for Wilhelm. 



298 THE HALIBURTON TEACHER'S MANUAL 

What else did Mignon do to cheer Wilhelm? What is a 
zither? What kind of song was Mignon's song? What 
about Wilhelm while Mignon was singing the song? What 
about Mignon herself? Listen while I read Mignon's song 
to you. (This poem should be read by the teacher. If 
the children wish to memorize it, they may do so.) 

After the song was finished what did Mignon ask and what 
did Wilhelm answer? Tell how the name Italy affected the 
child and what she said. 

Don't you hope Mignon saw her beautiful Italy again? 



The Little Tambourine Girl, Pages 77-78 

The teacher may tell the children that this poem seems 
to have been written by the poet Lucy Larcom after she had 
seen a little girl dancing to the music of her tambourine, 
dancing up and down the sunless red brick streets that 
lay between the dark walls of some tiresome old town in a 
country across the sea. 

This little girl was dear and sweet, with wild, merry brown 
eyes and hair that hung in breezy curls about her face. She 
was a gay, happy little thing, although she had to dance and 
dance up and down the gloomy brick streets of that dull, 
tiresome town for her living. Lucy Larcom watched her, 
day after day, as she danced in the streets where there 
were so many wicked people. She felt sure that the little 
maid had no mother living; because no mother would have 
let her darling little girl live on the wicked streets. 

Lucy Larcom wished she might have the little dancing 
girl for her own. She thought she would like to take her 
away from the wicked city, to live in the country, where she 
might dance in the fields among the daisies, where the wind 
would play with her curly hair as she swayed under the trees, 
her heart as light as the breeze, and her singing as joyous 



LESSON PLANS AND TYPE LESSONS 299 

as the notes of the birds in the blossoming boughs above her. 
But Lucy Larcom lost track of the little tambourine girl, 
and could never find her again. She said the memory of the 
poor lost little girl made her dreams sad; and she always 
seemed to see the brown eyes of the little girl looking sadly 
at her, as if reproaching her for having lost her. Every 
sweet little girl that Lucy Larcom afterwards saw made her 
think of that little lost tambourine girl. 

Listen and I will read all this just as Lucy Larcom tells 
it in this poem. 

(The teacher reads the poem before the pupils attempt 
to read it.) After the poem has been read by the class, the 
teacher may say: "As we read the poem I had a wish, a hope, 
about Lucy Larcom and this little girl. I dare say you were 
feeling it too. What was it?" 

Nello and Bianca, Pages 78-82 

This is an informational selection. 

Preparation. — There should be a preparatory discussion, 
in which the teacher shows pictures of Florence, its magnifi- 
cent palaces, churches, etc., its picturesque poor and their 
huts, copies of the masterpieces of painting and sculpture, 
and other treasures found in Florence. Copies of these may 
be had for a trifle and should be shown to the children, who 
only in this way can get a clear idea of what is meant by art 
and artists, and of the custom among artists of hiring men, 
women, and children, to pose for them while they make 
beautiful pictures of them. 

The manner in which the puppet shows are conducted 
should be described in fuller detail than it is in the reading 
lesson. "Punch and Judy shows" were once much appre- 
ciated by children. It is a pity that these innocent attrac- 
tions have been so completely superseded by the sometimes 



300 THE HALIBURTON TEACHER'S MANUAL 

questionable moving picture shows; but, though they may 
never be revived, the children should know about them. 

Word Study. — There should be a drill in the syllabication 
of the following words : 

Flor ence car ni val 

art ist Bi an ca 

or gan Pi noc chio 

Bep po (Pi nok yo) 

Nel lo La Be fo na 

Assignment. — You are to read about two children who live 
in the "Land of Blue Skies," and then tell me whether they 
or the other children you've read about interest you most. 

This lesson should be studied, the children reading silently 
at their seats, following the main divisions, written on the 
blackboard, of the outline given below in fuller form for the 
teacher's use: 

1. The city of Florence. 

(a) The people of the city. 
(6) Beppo and his family. 

2. Beppo and his puppet show. 

3. Nello and Bianca and the holidays or feast days. 

(a) The carnival. 

(b) The church fairs. 

(c) Twelfth Day. 

(d) La Befona. 

^. Nello and Bianca at school; the story the children like. 

Discussion. — The recitation that follows should be a silent 
reading lesson, the teacher moving quietly about among 
the pupils as she asks the following questions, — which may 
be written on the blackboard instead, if she likes. 

What beautiful city of Italy have we read about before 
we came to this lesson? What city are we to read about 
to-day? Tell what it is sometimes called. Tell me about 



LESSON PLANS AND TYPE LESSONS 301 

the people. Tell about Beppo, his home, his family. De- 
scribe Nello and Bianca. Tell how they sometimes make 
money. How does Beppo make a living for himself and 
family? When are Nello and Bianca very happy? Tell 
about the carnival. Tell about the church fairs. Tell 
about Twelfth Day. Tell about La Befona. What of 
Nello and Bianca and the schools? What story is found in 
one of their books? Of what does the story make Nello 
and Bianca think? 

If the children can answer such questions with a reason- 
able degree of readiness and fluency, there should be no 
necessity for the oral reading of this lesson. 

The Wonderful Puppet, Pages 82~H 

This is a long story. It will be best treated first as a study 
lesson and afterwards as an oral reading lesson. No pre- 
paratory discussion is necessary. 

Word Study. — A drill in syllabication may be given on 
the following words: 



carv ing 


four teen 


dor mouse 


ar rived 


naught y 


car pen ter 


fe ver 


Gep pet to 


sau cers 


naught i est 


al though 


Ro me o 


don keys 


va ca tion 


in vite 


An to ni o 



The following headings should be put upon the blackboard : 

1. Antonio tries to carve a table leg. 

2. Geppetto begs the piece of wood; carves the puppet, 
/ Pinocchio. 

3. Pinocchio runs away ; is naughty ; makes many enemies. 
If. Pinocchio finds a friend in the Blue Fairy. 

5. Pinocchio allows Romeo to persuade him to travel to 

Play Country. 

6. Boys arrive at Play Country; play all the time. 



302 THE HALIBURTON TEACHER'S MANUAL 

7. Pinocchio find his ears and Romeo's ears becoming 

donkey ears. 

8. Pinocchio and Romeo become donkeys. 
Assignment. — The children read over the headings. The 

teacher asks them to find and read the answers to the follow- 
ing questions, asked orally or written on the blackboard. 

Where does No. 1 end? With what words? (Page 83, 
"that little voice.") 

Where and with what words does No. 2 begin and end? (Page 
83, "At that moment"; Page 85, "carried puppet home.") 

Where and with what words does No. 3 begin and end? (Page 
85, "Geppetto found"; Page 85, "made many enemies.") 

Where and with what words does No. Jf. begin and end? 
(Page 85, "Once after he"; Page 86, "left the cottage.") 

Where and with what words does No. 5 begin and end? (Page 
87, "Pinocchio went gaily"; Page 90, "trotted along.") 

Where and with what words does No. 6 begin and end? (Page 

90, "Just as the sun"; Page 91, "strange thing happened.") 
Where and with what words does No. 7 begin and end? (Page 

91, "One morning"; Page 93, "laughing out loud.") 
Where and with what words does No. 8 begin and end? (Page 

94, "All at once"; Page 94, "like another donkey.") 

The children, having by now read the lesson silently, may 
discuss it with the teacher and then read it orally. 

The Waterfall, Pages U-95 

Word Study. — A drill on the syllabication of the following 
words may be held: elf in min strels dark ling 

Preparation. — The teacher asks, "How many have seen 
a waterfall?" and should then describe a great waterfall like 
Niagara Falls, for instance, showing good pictures of the 
fall, and should tell of the loud roaring noise of its waters 
falling over the great cliffs down to the flat land, many feet 
below, where they flow away as a river. 



LESSON PLANS AND TYPE LESSONS 303 

She should then describe a small waterfall, of which there 
are so many beautiful ones in the country we are going to 
read about next. She should describe the falling water as 
it sparkles in the sun, and how the sun shines through the 
spray so that it makes a rainbow, and the water seems to 
be "falling in a rainbow sprinkle." As the water falls on 
the surface of the pool (explaining pool) down in the dell 
(explaining dell) it seems to be "dropping stars that brightly 
twinkle." She should describe the soft, tinkling sound of the 
"water in the dell," falling and "making music so." What 
does it sound like? Some say it sounds "Like a fairy silver 
bell in the distance ringing, lightly swinging in the air." 
Some say it sounds "like a fairy bell and like a pebble in a 
shell" (explain). Some say it seems to come from the dell 
where the elfin minstrels (fairy musicians) dwell, and that it 
sounds like the elfin minstrels playing on their lutes, or 
harps, that are made of water spray. 
The teacher then reads the words: 
"Tinkle, tinkle, 
Listen well." 
She asks, "What is it? What does it sound like?" Then: 
"Like a fairy silver bell 
In the distance ringing, 
Lightly swinging 
In the air" 
She then asks, "What is it?" and reads: 

" 'Tis the water in the dell 
Where the elfin minstrels dwell . . . 

" 'Tis the water elves who play 
On their lutes of spray." 
Then reads again: 

"Tinkle, tinkle! 
Listen well!" 



304 THE HALIBURTON TEACHER'S MANUAL 

She then asks again, "What does it sound like?" and reads: 

"Like a fairy silver bell, 
Like a pebble in a shell, 
Tinkle, tinkle! 
Listen well !" 

The teacher then reads the entire poem aloud. After- 
ward the pupils may read it. 

Mountain and Meadow, Page 95 

Word Study. — Following a drill in syllabication of the 
words gir die, cav ems, and bow ers, the teacher should read 
this poem aloud to the class. She should return to it after 
the lessons on Switzerland have been read. The children 
will then enjoy it more fully, since they will better under- 
stand such phrases as "half covered with snow," "tall and 
dark trees like a girdle of green," "waters that wind in the 
valley below," "roar in the caverns too deep to be seen," 
"There spread the sweet meadows," "old woods that for 
ages remain," "in the shade of their bowers," "high mountain 
plain." 

A Land of Lake and Mountain, Pages 96-102 

This is an informational selection, requiring a preparatory 
discussion, which should be given at the geography period. 
It is a selection that is best treated as a silent reading lesson 
and requires no oral reading by pupils. Certain paragraphs 
may be read orally by the teacher, however, after they have 
been discussed; as, for instance, the last paragraph on page 
99. In the preparatory discussion of the country good 
pictures should be shown to the class. 

Preparation. — There are numberless pictures of Switzer- 
land which the teacher may secure for these lessons and 
which will be of the greatest help to the children. Among 



LESSON PLANS AND TYPE LESSONS 305 

the colored postcards alone are dozens and dozens of pic- 
tures that may be shown to the children with great profit. 

The class should find Switzerland on the globe or map, 
and trace the course one would take in going from Italy to 
Switzerland. Some stories should be told of the monks and 
the noble dogs near the pass of Mt. St. Bernard who used 
to save hundreds of lives. Pictures of the chamois, specimens 
of chamois skin, and articles made from it are not difficult 
to obtain and should be shown to the class. 

Word Study. — A drill in the syllabication of the following 
words may be held: 

tun nels gla ci ers Switz er land 

viv id prec i pice nat u ral 

daz zling ere vas ses ter rif ic 

at tempt val u a ble av a lanche 

The selection should be treated as a study recitation. In 
this exercise the class reads the lesson silently, following the 
outline given, and then discusses with the teacher the main 
divisions of the lesson as they are taken up. 
Guiding Outline. — 

1. Going from Italy to Switzerland. 

(a) What you wish to see. 

(b) Ways by which you might go. 

2. The high Swiss Alps. 

(a) Snow-covered tops. 

(b) Avalanches. 

(c) Glaciers. 

(d) How glaciers are made. 

(e) The movement of glaciers. 
(/) Dangers of the crevasses. 

3. Visiting the Alps. 

(a) Why visitors climb the Alps. 

(b) A Swiss mountain guide. 



306 THE HALIBURTON TEACHER'S MANUAL 

(c) What is carried on a mountain climb. 

(d) Climbing a high peak. 
1±. The chamois. 

(a) Their appearance. 

(b) Their habits. 

(c) Why men hunt the chamois. 
5. The countrymen of Switzerland. 

Discussion. — Why would we wish to go to Switzerland 
when we leave Italy? Tell some of the ways by which we 
might reach Switzerland in leaving Italy. Tell about the 
tunnels. What is a mountain pass? Tell how the moun- 
tain passes are still used. What about the tops of the high 
Swiss Alps? What sometimes happens to the masses of 
snow? What are they called? How do the people feel 
about them? What other dangers are there on these moun- 
tains? What is a glacier? How are glaciers made? What 
can a snowball help you to understand? Why do visitors 
climb the Alps? With whom do they generally go? Why 
do visitors to the Alps always go with one or more of these 
men? What do they carry with them? Describe a Swiss 
guide's climb up a steep mountain peak. Why can they 
go where other men dare not go? Tell all you can about the 
chamois, their appearance, habits, etc. Why do men hunt 
the chamois? What is true of the Swiss countrymen? 

Two Little Mountain Playmates, Pages 102-107 

This is an informational selection and calls only for a 
study recitation or an exercise in silent reading, no oral 
reading being necessary if all is accomplished by the silent 
reading that may be and should be. No special preparatory 
discussion is necessary, since all the geographical information 
needed for these lessons on Switzerland has been given. 



LESSON PLANS AND TYPE LESSONS 307 

Word Study. — A drill in syllabication may be held on 
the following words: 



past ure 


Pix ies 


com pa ny 


squir rels 


eel lars 


Nix ies 


fur ni ture 


hur rah 


Nai ads 


bor der ing 


veg e ta bles 


Jea nette 


Dry ads 


gal ler y 


with ered 


en joy 



A study recitation, in which the children discuss the lesson 
with the teacher as they read it, may follow this plan: 

The teacher begins this study lesson by saying: "Let us 
imagine ourselves on top of the Alps mountains ready to 
climb downward. We would see, lying all around us and 
about us, the fields of everlasting ice and snow. Now read 
to yourselves what our lesson tells us about the Alps — what 
we would see as we travel from the top downward." 

Guiding Outline. — 

1. The Alps. 

(a) Fields of everlasting ice and snow at the top. 

(b) Below fields of ice and snow: stretches of high pasture. 

(c) Below high pasture land: forests, scattered homes of 

mountain people. 

(d) Below forests: mountain villages. 

(e) Below mountain villages: towns and cities. 

2. Jeanette and her home. 

The house; the furniture ; the garden; the cellar; the 
family's food; Jeanette 1 s neighbors; her one play- 
mate. 

3. The playmates. 

The playmates' school; the walk to school; the Satur- 
day trips; the long winter evenings ; the long vacation; 
the playmates' work. 

Describe Jeanette's home; the roof of the house; the 
lower part of the house; the upper part of the house; the 
rooms of the house; describe the furniture of the house. 



308 THE HALIBURTON TEACHER'S MANUAL 

Describe Jeanette's garden. Tell what is stored in the cellar; 
tell about the food of Jeanette's family. What about the 
other houses and people? Tell about the playmates' school. 
Why do they enjoy walking to school in spring? What 
about chestnuts and chestnut-gathering in the fall? For 
what are chestnuts stored away? About what do the chil- 
dren hear on the long winter nights? How do the playmates 
spend their vacation time? What keeps Jeanette from being 
lonely in the summer time? 

The Nutting Song, Page 107 

This is a poem of nature, to be read orally by the class. 

How many have seen the oak leaves in the fall? What 
colors do they turn? Some of them turn red, a rich, glowing, 
dark red, or ruddy, color. Do the leaves stay on the trees? 
What else fall from the oak trees? Yes, the acorns. An 
acorn is a kind of nut. Like all nuts, it falls to the ground 
when it is ripe; and this is generally after we've had heavy 
frosts. You may have seen the nuts still hanging on the 
trees when "the meadow grass is crisp and white" with 
frosts that "are keen and biting." Then, if you want the 
ripe nuts before they fall, you must "climb as high as squir- 
rels go" and "shake them down in showers." Listen while 
I read a poem that is a "Nutting Song." 

The children will find all the phrases of this poem perfectly 
familiar, save "silent upland" and "wildwood bowers." 

With the Herdsmen on the Mountain; A Psalm of Praise; 
Song; Pages 108-113 

This being an informational selection, the class should not 
be required to read it orally. However, beginning with the 
words, "When the sun nears its setting," on page 111, the 
teacher should read aloud through the close of the lesson, 



LESSON PLANS AND TYPE LESSONS 309 

including in her reading the "Psalm of Praise" and the 
"Good-night Song," on page 113. Later, the class should 
read orally both psalm and song. The teacher will find 
that, if they are trained as they should be, the pupils will 
read page 113 in concert with good effect and pleasure. 

Preparation. — Preceding the reading lesson, there should 
be a preparatory discussion, in which the teacher takes up 
and discusses the following points, somewhat more fully 
than the lesson space allows: 

1. The necessity the Swiss find of harvesting all grass. 

2. The dependence upon dairy products in that country. 

3. The great value of the high pasture lands on the 
Alps. 4. The necessity for the herdsmen's summer stay on 
the mountains. 5. The nature and the effect of yodeling 
songs among the high mountains. 6. The usefulness of the 
Alp horn to the herdsmen. 

The teacher should show as many good pictures bearing 
upon this lesson as possible. There are to be found among 
the colored postcards sold in this country for a few cents 
apiece beautiful pictures of the scenery and life in Switzer- 
land. Many of the wild flowers of the Alps are included with 
them, as the Alpine rose, the Alpine chrysanthemum, etc. 

A fine collection of such pictures of Switzerland may be 
bought for the sum of fifteen cents from the "Mentor Asso- 
ciation," 52 East 19th Street, New York City. The collec- 
tion to be called for is No. 24 Switzerland, "The Land of 
Scenic Splendor." If possible, the teacher should have the 
class hear some of the famous yodeling songs. Among the 
Victor records are to be found excellent yodeling songs by 
George P. Watson and Frank Wilson. 

In describing the echo songs and their effect among the 
mountains, the teacher must find opportunity to use, and have 
the children use intelligently, such expressions as: "in the 
heights," "snowy summits," "set the wild echoes flying," 



310 THE HALIBURTON TEACHER'S MANUAL 

"answering echoes," "dying echoes," "from peak to peak," 
"from cliff and scar," "purple glens replying," etc. Some 
of these phrases will occur later in Tennyson's "Bugle 
Song," which the pupils are none too young to hear, 
memorize, and love. 

Word Study. — A drill in syllabication may be held on 
these words: Alpine quantities distinct 

ech o re ech o lone li est 

sig nal sol emn com mand ed 

yo del ing e vent ere a ted 

Guiding Outline. — An outline for the study recitation, or 
for a silent reading exercise, may be as follows : 

1 . How the Swiss care for and feed their herds. 

2. The day the herds and herdsmen begin their upward march. 

3. How the herdsmen and boys live in the Alps. 
If. What Conrad does from dawn to sunset. 

5. What Conrad does and what he hears at the evening milk- 

ing time. 

6. What the Alpine horn is, how it looks and sounds. 

7. How the lone shepherd calls others to evening prayer and 

repose. 

8. How the night comes for the herdsmen on the mountains. 

Discussion. — After the lesson has been read silently, the 
teacher asks the following questions : 

1. What do the Swiss people do in winter for hay to feed 
their cattle? Where do their herds get grass to eat during 
the summer? Are they left there alone? Do the herdsmen 
keep the goats and sheep with the cows? Why not? How 
do the herdsmen manage to have all the herds tended? 

2. What day is a great event in the Swiss year? What 
about the morning the journey is to begin? What about the 
flocks and herds on that morning? What about the finest 
cattle? Who are the happiest of all the crowd? What do 



LESSON PLANS AND TYPE LESSONS 311 

the men and boys do as they climb upward? How long does 
it take them to reach the open slopes or pastures that lie 
high up among the mountains? 

3. How do the herdsmen and boys live up there? What 
do they do besides watch and tend the cattle? 

4. What does Conrad do during the day? 

5. What do Conrad and his father do as the sun nears its 
setting? What do they hear? 

6. What is an Alpine horn? Describe the sounds that 
can be made with it. 

7. Tell about the lone shepherd high among the glaciers. 
What does he do as the sun begins to sink in the western 
sky? For what is his music the signal? 

8. Tell about the herdsmen on the lower Alps. What 
sounds and words come through the Alpine horn of the lone 
shepherd far away? Tell how the night falls. 

How the Alp Horn came to the Herdsmen, Pages 114,-123 

This is a long story, and should be divided by the pupils, 
with the teacher's help, into the divisions given below in 
the paragraph Guiding Outline. 

Assignment. — The teacher states the problem for her class 
by saying: "We know about the Alp horn. We are going 
to read a story which the Swiss people tell of how the first 
Alp horn came to a young hunter who became a herdsman. 
I want you to tell me what you think about that young 
hunter and what you think really became of him." 

Word Study. — Drills in syllabication may be held on the 
following words: 

stir rups ra vines mar vel ous 

res cue de sire pros per ous 

li quid pro tect ed in stant ly 

con tents de sert ed dis ap peared 



312 THE HALIBURTON TEACHER'S MANUAL 

start ed pro due ing grad u al ly 

anx ious de ter mined sep a rat ed 

ef feet con tin ued ev i dent ly 

Fe nette gos sa mer 

Guiding Outline. — The teacher may put on the board the 
outline given below, which the pupils will have before them 
during the silent reading, their study period, and also during 
the discussion and oral reading: 

1 . The little people of the olden times. 

(a) The gnomes. 

(b) The Alpine fairies. 

2. The young huntsman. 

(a) Why the fairies liked him. 

(b) How they protected his sleep and what they told him 

in his dreams. 

(c) Of what he grew more fond and more proud. 

(d) What he did to the chamois. 

3. The young huntsman in the storm. 

(a) Seeks shelter and falls asleep in the loft of a deserted 

hut. 

(b) Awakes, hears the tinkle of cow bells. 

(c) Looks down, sees three gnomes in the hut. 

4. The three gnomes at work. 

(a) What each gnome was doing. 

(b) The strange liquid they were making. 

(c) The horn they had with them. 

(d) The sound the gnomes brought from the horn. 

(e) The effect of the horn's notes. 

(/) The appearance of the liquid in the crystal bowls. 

5. The young huntsman and the gnomes. 

(a) The gnome calls the huntsman down. 

(b) Tells the huntsman to choose a bowl and drink what 

it holds. 

(c) The huntsman drinks the milk-white liquid. 



LESSON PLANS AND TYPE LESSONS 313 

(d) The gnomes praise and explain the huntsman's choice. 

(e) The gnomes make the huntsman a gift. 

(/) Gnomes disappear with the cattle, the silver kettle, the 

crystal bowls, 
(g) Huntsman finds he can sound the horn. 

6. The young huntsman and the Alp horn. 

(a) Fenette, the herd girl, persuades the huntsman to give 

up hunting and become a herdsman. 

(b) Huntsman makes and gives an Alp horn to Fenette. 

(c) Fenette and the huntsman herd their cattle, and speak 

through their Alp horns. 

7. The huntsman and the chamois doe. 

(a) Huntsman sees and kills a chamois doe. 

(b) Calls good-night to Fenette, but receives no answer. 

(c) The next day herd boy tells of Fenette 's disappearance. 

(d) Huntsman searches in vain for Fenette. 

(e) What people said had become of Fenette. 

(/) The huntsman, grief stricken, lives on loneliest Alps. 

(g) Spends his winters in guiding lost travelers. 

(h) His Alp horn heard at every sunset hour. 

(i) Hunter disappears; his Alp horn heard no more. 

(j) Other herdsmen and their horns. 
Concluding Discussion. — What do you think of the hunts- 
man? What was the cause of his trouble? What do you 
think became of Fenette? Of the huntsman? 

The Fairies' Captive; The Bugle Song, Pages 123-121* 
Word Study. — Drill in syllabication on the following : 
bri dies sigh ing cat a ract 

bu gles sum mits re ply ing 

lin gers Elf land 

Preparatory Talk. — The story of Fenette 's disappearance 
will have prepared the children to appreciate the poem, 



314 THE HALIBURTON TEACHER'S MANUAL 

"The Fairies' Captive.'' Unless they are explained by the 
teacher, however, certain poetical phrases may be meaning- 
less to the children; such as, "on gossamer nights," "stars 
in the mists are hiding," "leave no traces," "of human kind," 
"glimmering steps," "in the cold night tide." 

Before reading the poem to them, the teacher may ask 
the children if they have ever been out on a night when there 
were mists or fogs so heavy that the stars looked dim, — 
almost as if they were hiding in the mists. Some mists or 
fogs are not so heavy, but seem to hang over everything 
like a thin veil, a veil of the material we call gossamer. 

Those are the nights on which the fairies are said in 
Switzerland to ride about, over the hills where the fox- 
gloves and other wild flowers grow, and down in the hollows 
that are dark and damp. On such nights it is said that one 
may sometimes hear the fairies or elves, blowing their horns 
and bugles as they ride their fairy steeds, with bridles and 
stirrups ringing, "Kling! Klang! Kling!" 

As I read the poem to you, tell me of what story it makes 
you think, a story that the poet who wrote these" verses 
about the fairies' captive, or prisoner, must have known. 
The poem may help you to decide what became of Fenette. 

Do you remember how the fairies felt toward the hunts- 
man? Do you suppose they wished to make him unhappy? 
Do you remember what became of the huntsman? What 
do you think, now, may have become of the huntsman? 
Where may the fairies have been taking their captive? If it 
were Fenette, what do you hope was the end of the story? 



The Bugle Song, Page 124- 

Some people might consider this poem beyond Third 
Grade pupils, but the preparation and suitable setting for it, 
provided by the preceding story and poem, make it even 



LESSON PLANS AND TYPE LESSONS 315 

less difficult for these Third Grade pupils than it would be 
for Fourth Grade pupils who had not such preparation. 

There are phrases which must be used — and probably 
explained by the teacher — such as the following: "snowy 
summits old in story," "the long light shakes," "wild cata- 
ract leaps in glory," "from cliff and scar," "the purple 
glens replying," etc. 

This selection to be memorized ends the fifth lesson group. 

The Pleasant Land of France, Pages 125-133 

This is an informational selection and should be treated 
as a study lesson pure and simple: read silently in class, 
with no exercise in oral reading. 

Preparation. — A map should be provided in the class- 
room upon which the children should find France. They 
should follow its boundary lines, noting especially the part 
which borders on Switzerland and Germany. The wide 
level plains and the rivers of France should be pointed out; 
the breadth of its rivers and their slow currents should be 
described and explained. The sea coast of France should 
be traced; its fishing towns should be located. The city 
of Paris should be located and described in considerable 
detail. Good pictures of France, its rivers with their 
bridges, its cities with their buildings, its people and their 
homes and occupations, particularly as mentioned in the 
reading lesson, with emphasis on the occupations of the 
children, should be shown to the pupils. 

Word Study. — A drill in syllabication may be held on the 
following words : 

al monds guilt y des per ate 

per fumes U nit ed in no cent 

sar dines Ger man y gen er al 

or phans in ter est mis er a bly 



316 THE HALIBURTON TEACHER'S MANUAL 

hes i tate fac to ries Na po le on 

chap el mul ber ries Cas a bi an ca 

Par is u ni form 

pa tient re pub lie 

Guiding Outline. — The following outline is to be given 
the class for guidance in the study lessons and discussion: 
I. 1. The country of France. 

(a) Into France from Switzerland. 

(b) What French boys and girls think of their country. 

(c) In what respect France is unlike Switzerland. 

2, The rivers of France and what they could tell, 

(a) Of villages and farms; (b) of boys and girls; 
(c) of cattle and washerwomen ; (d) of towns 
and cities; (e) of orchards and vineyards. 

3. The fisher folk of France. 

(a) How the coast country and people differ from 

the river country and people. 

(b) Why the fisher folk often work day and night. 

(c) The children and the fish canneries. 

(d) The homes of the fisher folk. 

(e) The "orphans of the sea." 

(f) The work of the "orphans of the sea." 

(g) The wayside shrines and chapels of the coast 

country. 
II. h. The soldiers of France. 

5. What government France has now and what it used to 

have. 
(a) As a republic; (b) as a kingdom; (c) the kings 
and nobles of France; (d) how they treated 
farmers; (e) how they treated shop-keepers; 
(f) the king's troubles with other countries. 

6. The French people and their great troubles. 

(a) Many men killed in the wars. 

(b) All work done by women, children, and the aged. 



LESSON PLANS AND TYPE LESSONS 317 

(c) Years of terrible wrongs. 

(d) Mocked by the nobles. 

(e) The mistakes and cruelty of the people. 

(f) The kings and nobles of other countries. 

(g) The great Napoleon helps the people. 

7. The French people since the days of Napoleon. 

Of course the teacher must add briefly to the above out- 
line the terrible sequel of which children even younger than 
these are hearing daily : France and her trouble to-day. 

Discussion. — After studying the lesson in connection 
with this outline, the children should have a silent reading 
lesson, during which the teacher may ask and the pupils 
answer the following questions: 

About what would you hesitate when leaving Switzer- 
land? Why? Who would be surprised that you could 
hesitate? Why? In what way is France unlike Switzer- 
land? 

If the rivers of France could speak, what would they tell? 
When they grow wider and deeper, what would they tell? 

How could we get to one of the fishing villages? How 
does this coast country and its people compare with the 
river country and its people? When and why do fishermen 
work day and night? What of the fish that are caught and 
what of the children's work? Describe the homes of the 
fisher folk and the streets of their villages. 

Who are Pierre and Marie? Where are they going? What 
of their faces? Who are the "orphans of the sea" and what 
can you tell about them? If the sea could speak, of what 
would it tell? How do the fisher folk speak of the sea and 
why do they call it so? 

What have the fisher folk put along the coast of France? 
When and why do the people go to these places? 

What would you see in France that would surprise you 
and why would you feel surprised? In what way is France 



318 THE HALIBURTON TEACHER'S MANUAL 

different from what it used to be? What kind of govern- 
ment has France to-day? What did it used to have? 

Tell how the king and his nobles treated the farmers and 
other working people; what they did in the shops and in 
the churches. What did the King's love of power bring to 
France and the people? After so many men were killed 
in the wars, who did the work of the country? 

What kind of people were the French? How did they 
bear their wrongs? What about them, when they could 
not get bread to eat? How did the nobles mock the poor 
hungry people, and what did the people do? What cruel 
things did the people do and why did they do them? Where 
was some of the fighting done and why was it done there? 
Who won? Who helped them to win? What changes then 
took place? Of what do the people of France still tell? 

What do you boys and girls know of the changes in France 
since this lesson was written? 



Casablanca, Pages 133-134 

This fine poem was once such a favorite with teachers 
and pupils that it was worn threadbare and as a natural con- 
sequence was cast aside for a while. But its real value and 
beauty have recently brought it again into favor; for chil- 
dren love it and always will. It requires a careful oral 
reading on the teacher's part to prevent its being read by 
the pupils in a bombastic manner and with exaggerated 
emphasis. 

The poem is founded upon a historic incident during the 
battle of Aboukir, which occurred in 1798, in which a French 
naval officer perished with his son, the young hero of this 
poem by Mrs. Hemans. 

Word Study. — Before the poem is read, there may be 
a drill in syllabication on these words: 



LESSON PLANS AND TYPE LESSONS 319 

chief tain pen non 

wreath ing per ished 

gal lant con scious 

frag ments un con scious 

Preparatory Talk. — The teacher should make clear such 
unusual phrases as the following: "Whence all but him 
had fled"; "As born to rule the storm"; "A creature of 
heroic blood"; "burning shots replied"; "lone post of 
death"; "still yet brave despair"; "through sail and 
shroud"; "wreathing fires made way"; "Wrapped the ship 
in splendor wild"; "Like banners in the sky"; "With mast, 
and helm, and pennon fair;" "well had borne their part." 

The literal narrative might be given as follows: 

More than a hundred years ago, the French people were 
engaged in one of the many wars which France has suffered. 

In those days, the fighting was done largely between ships 
on the water. It was in one of these naval battles (as 
fights between ships are called) that a brave French naval 
officer had stationed his son on the deck of one of his ships, 
telling him not to leave that post of duty until he gave him 
permission. Soon after leaving his boy, this brave chieftain 
(or officer) was killed. He lay there dead and unconscious 
of his son, unable to speak and tell him to save himself. 

Casabianca, the boy, knew not that his father lay dead. 
He stood there on the burning deck, although everyone had 
fled for their lives, or been killed. He saw the flames leap- 
ing all around him, lighting up the ships near, the dead men 
on the decks, the dark waters around. 

He watched the awful flames roll on, leaping up among 
the sails and shrouds, catching the flag, wreathing the mast, 
the helm, the whole ship, in the wild splendor of the flames; 
he saw that they were coming nearer and nearer; he felt 
their heat like a hot breath on his brow, on his hair. But 
still he would not move. He had called to his father more 



320 THE HALIBURTON TEACHER'S MANUAL 

than once; he called once more aloud, "My father! Must 
I stay?" Then, as he heard no word, he stood there all 
alone at his post of duty, which had now become a lonely 
post of despair, for he saw that he must die. He did not 
cry aloud for help. He stood in "still yet brave despair." 
Then there came the burst of a terrible sound, more ter- 
rible than any burst of thunder; the ship had been blown to 
pieces, perhaps by the fire reaching the supply of gunpowder ! 
All the sea was strewn with fragments of the noble ship, with 
its ruined mast and helm, and fair, proud pennon, its flag; 
all that well had borne their part (that had acted bravely 
and nobly) in the great battle had perished; but the noblest 
thing that perished there was the faithful young heart of the 
noble boy, Casabianca. 

Gay Paris, Pages 135-1^0 

This is an informational selection and, as such, calls 
for a study lesson, then a silent reading lesson. 

The preparatory discussion, before the first lesson on 
France, should be sufficient to explain this lesson, with the 
single addition of the displaying and discussion of good 
pictures of Paris, and recalling and emphasizing some of 
the special points brought out in this lesson. 

Word Study. — There may be several drills in syllabica- 
tion on the following words : 



bon bons 


de li cious 


Co sette 


cab bage 


mu se um 


pa rade 


car rots 


per mit ted 


bal loons 


let tuce 


ap pear ance 


sa lute 


syr up 


po ta toes 


four teenth 


cir cus 


the a ters 


In de pen dence 


un cles 


lem on ade 


Cin der el la 


neph ews 


stat ues 


Vive la France 


ar tist ic 


poo dies 


(Veev lah Frahns) 



LESSON PLANS AND TYPE LESSONS 321 

Guiding Outline. — 

1. The city of Paris. 

What kind of city it is; what is sent there; what are 
to be found in the markets, stalls, and baker shops; 
the visitors to Paris; the museums of Paris; the 
beauty of Paris and how it is kept. 

2. The river Seine. 

How it flows; its stone bridges; its island. 

3. Interesting sights from the Seine bridges. 

The boats; the washerwomen; the dog washings. 

4. Independence Day in Paris. 

The best holiday; when it comes; what are closed; the 
flags of France; the people who come in, what they 
carry, and what these are for; the soldier's parade; 
what the people do, what they cry. 

5. The parks of Paris. 

Why the people go there; what are found there to 
amuse the children; the stories acted there for the 
children; which are liked best? Why? 

Discussion. — What have you learned of the city of Paris? 
What of the shops? The market stalls? The baker's shop? 
Who go to Paris and for what do they go? What of the 
museums in Paris? How is Paris kept beautiful? What 
river flows through Paris? What of its bridges? Its islands? 

What interesting sights might one see while standing on 
one of the Seine bridges? Tell all about the boats and with 
what they are loaded. Tell about the washerwomen. 
What funny sight might be seen from the bridge? 

What is the best French holiday? When does it come? 
What are closed in Paris on that day? Tell about the great 
parade of soldiers. What do the people do after the parade? 
Where do they generally go? What may be seen there? 
What story do the children prefer to see acted? Why? 



322 THE HALIBURTON TEACHER'S MANUAL 

Cinderella, Pages 1 1^1-156 

This selection is to be treated as a dramatic reading lesson. 
The words in italics may be read in a lower tone than the 
rest of the matter and without conversational emphasis; 
or they may be read silently; or by some one child, other 
than the actors, specially designated for this work. At 
first, perhaps, it will be better to have the matter in italics 
read orally, so that, by contrasting the other reading with 
this, more expression may be secured in the speeches of the 
play. Afterward, if the class wishes to do so, this selec- 
tion may be given as an actual drama; then, while the 
actors are practicing their parts, the matter in italics will 
be read silently. 

The teacher who studies this dramatization will see, of 
course, that she must tell the old story of Cinderella, accord- 
ing to the run of the present adaptation, introducing Puss 
for the purpose of breaking an otherwise excessively long 
monologue by Cinderella. Telling the story with this new 
feature is absolutely necessary and should be done before 
the selection is read by the class. It should not be difficult 
for any teacher to give this adaptation of Cinderella. 

Word Study. — Before the children read the lesson they 
should have a drill in syllabication on the following words: 



Char lotte 


liz ards 


an nounced 


cin der 


whisk ers 


sim pie ton 


scour ing 


roy al 


earn est ly 


scrub bing 


her aid 


as sem bled 


sim pers 


hith er 


Hen ri et ta 


kitch en 


ser vant 


or di na ry 


gar ret 


gra cious 


in ter rupt ing 


mis tress 


re duced 


haught y 



stin gy pro found kitch en 



LESSON PLANS AND TYPE LESSONS 323 



The Fairy Godmother, Pages 156-157 

This is a simple poem of childhood, too simple to need any 
preparation. The ideas are all familiar to children. There 
may be a few who do not fully understand such phrases as 
"magic fairy things," "knights in armor," "dragons fierce 
and dangerous." 

The lesson may be assigned for study by the teacher: 
"This poem tells about a little girl's dream. Read it to 
yourselves and then tell me in your own words all that she 
dreamed. Tell me why her mother found her where she did." 

Cosette, Pages 158-172 

This is a long story and must be separated into its main 
divisions for study. 

Word Study. — Before the lesson a drill should be held on 
syllabication of the following words : 

mad ame rub bish Kath a rine 

com fort mat tress bus i ness 

er rand Co sette The nar diers 

ba sin la zi est (Ta nar' dya) 

twen ty tim id ly rev er ent ly 

thir ty trav el er mag nif i cent 

rib bons nat u ral 

Guiding Outline. — 

1. Cosette knits and hides in the kitchen; tells a falsehood. 

2. Cosette sent to the spring; stops at the toyshop. 

3. Cosette runs to the spring; loses the money. 

It,. Cosette returning from the spring; meets a stranger. 

5. Cosette conducts stranger to the inn, is saved a beating. 

6. Cosette returns to her knitting; stranger buys her stock- 

ings; tells her to play. 



324 THE HALIBURTON TEACHER'S MANUAL 

7. Cosette plays with the lead sword; sees the little girl's 

doll; Cosette cries. 

8. Cosette receives a magnificent doll from the stranger; 

goes to bed with her doll. 

9. Cosette sleeps; the stranger puts a gold piece in her shoe. 

10. While Cosette still sleeps the stranger pays his bill and 

buys Cosette. 

11. Cosette wakes; finds the gold piece in her shoe. 

12. Cosette and her doll travel to Paris with the stranger. 
The pupils will follow the outline given above, in their 

study lesson, discussing the points with the teacher that may- 
puzzle or deeply interest them. In these discussions the 
children will have made clear to them such phrases as "at 
the inn," "the crosspiece of the table," "a small natural 
basin," "shoes ready for the good Christmas fairy," etc. 

There is a great opportunity here for expressive oral read- 
ing in rendering the careless speech of the men stopping at 
the inn; the harsh talk of the Thenardiers; the timid words 
of Cosette; the kind voice of the stranger. 

Since the story is so long, the teacher should read some of 
the longer paragraphs, calling upon different pupils to read 
the words spoken by the different characters. 

It is a good selection for dramatization and if the children 
wish to work out a drama, the teacher should encourage and 
help them in doing so. 

Discussion. — Did Cosette do wrong to tell a falsehood? 
Why did she do it? Did it help her any to tell the falsehood? 
Do you think Cosette was very wicked? It is wicked to tell 
a falsehood, isn't it? Who in this story is wicked? Do you 
suppose Cosette was a pretty child? Was she sweet looking 
in her rags? How do you suppose the little Thenardiers 
looked? Why did the stranger give the doll and the gold 
piece to Cosette instead of to the other little girls? Whom 
do you admire most in this story? 



LESSON PLANS AND TYPE LESSONS 325 

For Good Luck, Page 173 

This is a very short selection, but if the lesson it is in- 
tended to teach could be indelibly impressed upon the 
young readers, it would be worth much more than many 
longer selections. 

Preparatory Talk. — A short talk by the teacher before 
reading this lesson should point out the wrong in ruthlessly 
"picking from the stalk" more flowers than we need or can 
really use, or gathering in needless quantities "water- 
wonders of pond or brook," or in "pulling up by the root" 
the vines and flowers, which, if left in the ground, will come 
back every spring or summer to greet the children as if they 
were indeed "Little Kings and Queens of the May." 

Those of the pupils who have read "Mabel on Midsummer 
Day" in the Second Reader will recall the reward bestowed 
by the wee good folk upon the child who did not pick the 
wild strawberry flower nor break the lady fern, but left the 
pretty green things growing. This will make clear the mean- 
ing of the last three lines. 

Two Children of the Black For est y Pages 17^-178 

This is not solely what has been called an informational 
selection, since it includes a description of the home and 
life of two children in the romantic Black Forest, these 
children being as real and lifelike and interesting as the 
characters in any story. The teacher will, however, find 
that this selection calls for silent rather than oral reading. 

Preparatory Talk. — In the preparatory discussion the 
teacher should show pictures of Germany, particularly of 
the Black Forest (Mentor Association No. 65, The Story 
of the Rhine; see page 309 of this Manual.) She should 
use a good map showing Germany and Switzerland, and 
have the children trace the course of the Rhine from the 



326 THE HALIBURTON TEACHER'S MANUAL 

mouth southward to its source, high above the pine belt in 
the Alps of Switzerland. Then, starting from the source the 
teacher asks, "How do you suppose this little mountain 
stream moves, — slowly or rapidly?" 

In what way does such a stream seem to "leap " and "race " 
along? How do you suppose this stream moves, down here 
in the level land of the Black Forest, slowly or rapidly? 
Why slowly, here? In what way does such a stream seem 
to "creep" along? Have you ever seen a small pond or a 
pool of still, dark water away off in the woods? How do 
pools differ from brooks, and rivers from ponds? 

How many have ever been in a thick pine forest? How 
do the trees grow there? Have you ever heard the low 
murmur of the wind among the pines? 

We are going to read about Hansel and Lischen, a dear 
little boy and girl who lived away off in a forest in Germany, 
where the tall pine trees grow so close together that they 
make a thick, dark forest called the Black Forest. 

Word Study. — Before the children are given the outline 
for the study lesson, they should be drilled on the syllabi- 
cation of the following words: 

Han sel com pelled flax en 

Lis chen em per or peas ants 

(lis' ken) o be di ent com fort a ble 

Guiding Outline. — 

1. The river Rhine. 

(a) A little stream high up in the Swiss mountains. 

(b) A longer stream in the Black Forest. 

(c) The famous river Rhine. 

2. The Black Forest. 

(a) The thickness and size of the pine trees. 

(b) The silence of the forest. 

(c) The still or slowly moving waters in the forest 



LESSON PLANS AND TYPE LESSONS 327 

3. The people of the Black Forest 

(a) The children of the forest. 

(b) The schools of Germany. 

If. Spring and summer in the forests. 

(a) The berries and the sunny places of the forest. 

(b) The dark places and pools of the forest. 

(c) The strange folk of the forest. 

5. The fair before Christmas. 

(a) Where and how long the fair is held. 

(b) Hansel and Lischen' s enjoyment of the fair. 

6. The Christmas trees in Germany. 
(a) Hansel and Lischen' s tree. 

(6) How Christmas Day is spent. 

7. Christmas, Easter, and other holidays in Germany. 

8. The Emperor's birthday. 

9. What we know about Germany as it is now, and the 

changes since this lesson was written. 

The teacher will seize this opportunity to demonstrate to 
her class that national enemies are not necessary personal 
enemies; that "people are people, wherever found." 

Discussion. — Questions to be asked during the silent 
reading lesson: Describe the little stream that grows into 
the great river Rhine. Describe the dark parts of the 
Black Forest. Describe the sunnier parts of the forest. 
Tell about the people and their houses. Tell all you can 
about Hansel and Lischen. Tell how Hansel and Lischen 
feel about their forest home, how they spend the spring and 
summer. Tell about their trips to the darker parts of the 
forest. Tell about the Christmas fairs in Germany. Tell 
about the Christmas trees in Germany. How is Christmas 
Day spent in Germany? What do they do in the evening? 
Tell about the other German holidays. Which is the 
greatest? What will Hansel and Lischen see on that day? 



328 THE HALIBURTON TEACHER'S MANUAL 

Good Friends, Page 179 

This is a poem of nature. Who can tell me the different 
things that have a "dwelling in the wood"? 

How can a flower laugh or smile? (By blooming.) How 
can fluttering leaves make "cheerful talk"? How can a 
thrush or other bird say farewell to us? Can anyone learn 
anything in the woods? What is it to be wise, to have wis- 
dom? Can we learn anything from the air? If we spoke of 
"the wisdom of the wood," what would we mean? What 
would we mean by "airy wisdom of the wood"? 

You are to read a poem called "Good Friends." It seems 
almost as if Hansel and Lischen, or Conrad and Jeanette, 
were talking in the poem. 

When you have finished it, tell me who you think the 
"Good Friends" are and then you may read the poem aloud. 

Where Go the Boats, Page 180 

Preparatory Talk. — To-day we are to read a poem that 
was written by Robert Louis Stevenson. Who remembers 
the names of some other poems we have studied that were 
written by Stevenson? 

I have told you some of the things Louis used to play when 
he was a little boy. Which of the poems I have read to you 
tell of the happy time Louis used to have when he was a little 
boy? At what did he like to play particularly? Yes; and 
he liked to play at boating, too. He used to make believe 
his bed was a boat; and once he built a boat of chairs on the 
stairs. Louis liked to watch the ships on the ocean. Have 
you ever watched boats and ships sailing away and away 
from the shore? Where were they going? Why were they 
sailing away? Do ships and boats always come back? Some- 
times they are wrecked far from where they started. If peo- 
ple see them, they take the boats ashore, that is, to the land. 



LESSON PLANS AND TYPE LESSONS 329 

Louis liked to watch the rivers as well as the ocean. Did 
you ever see a river that flowed through dark-brown soil? 
How did the river look? Have you ever noticed the white 
pebbles and grains of sand that were left by a river near its 
bank? Sometimes the grains look like silver or gold. Does 
the water of the river ever stop or does it flow on forever, 
down the hills and through the valleys? Sometimes a mill 
is built by the river, so that the water may turn the mill- 
wheel, as it flows past. 

Do you like to watch a river? Where do you like to sit 
while you watch it, especially if it is summer time? Why 
do you like to sit under the trees on the bank? Have you 
ever noticed leaves from the trees floating on the river? 
Have you ever noticed the water as it forms little piles of 
white foam against the bank or rocks in the stream? Have 
you ever set sail on the water little things, like chips and 
leaves, as if they were little boats? Louis liked to do that 
too. In this poem he tells us about himself as a little boy. 
He tells us how the river looked as it flowed along; how the 
foam of the water formed in places like fairy castles. How 
many know what a castle is? Stevenson tells us how he 
sent the green leaves a-floating like little boats. He liked 
to think they might float a hundred miles or more and that 
other little children might find them and bring them ashore. 

Presentation of the Whole Poem. — The teacher's rendering 
must be quiet, simple, musical, and suggestive, in the third 
and fourth stanzas, of the child's wonder over the seeming 
endlessness of the river. The tempo of these last two stanzas 
should be slow and very even, the tone clear and bright. 

Discussion. — (Read first stanza.) What was the first 
thing you saw as I read? How did the river look? Why 
did it look dark? How did the sand look? What else did 
you see? Who was under the trees? What was he doing? 

(Read second stanza.) What picture did you see as I read? 



330 THE HALIBURTON TEACHERS MANUAL 

(Read third stanza.) What new picture did you see? 

(Read fourth stanza.) Did you see the boy in this stanza? 
Was he still looking down at the leaf boats a-floating? Why 
not? Of what was the boy thinking? 

Assignment. — In their first attempts at reading this 
poem aloud the pupils will probably overstress the last word 
of each line; and, in order to obviate this probable fault, 
the teacher's main efforts must be directed to emphasizing 
smoothness. She can secure smoothness from the children 
by saying the lines herself repeatedly and by getting the chil- 
dren to feel the sentiment and to see the pictures. For in- 
stance, if they are really visualizing they will bring out the 
words dark brown as much as they will the word river; green 
leaves even more than a-floating, etc. 

As soon as the class as a whole has learned to read the 
poem effectively they should memorize it, in order that the 
smooth rendering as well as the thought may remain with 
them as a permanent possession. Probably most of the 
class will have memorized it automatically by the time the 
reading lesson is finished. The following simple outline 
of questions may be put on the board as an aid to quick 
memorizing. The teacher or one child may ask each ques- 
tion, and the class reply by repeating the stanza in concert. 

Stanza 1. How does the river look? 

Stanza 2. What is floating on the river? 

Stanza 3. Where is the river going? 

Stanza Jf.. What will happen a hundred miles away? 

Along the Storied Rhine; The Lorelei; The Rat Tower of 
Bingen on the Rhine; The Story Teller, Pages 181-189 

As will be seen at a glance, the four different selections 
composing this section should be treated in different ways. 
Each should be developed as a separate lesson, although all 



LESSON PLANS AND TYPE LESSONS 331 

are so closely connected that they might be considered as 
different parts of one long lesson. 

Word Study. — Drill in syllabication should be held for 
all four parts of the lesson at once on the following words: 

mean while Hat to Lo re lei 

girl hood wick ed (lo' re li) 

an cient nor mal gra na ries 

sto ried o beyed au di ence 

Guiding Outline. — ''Along the Storied Rhine." 

1. At what Hansel and Lischen worked, 

(a) in spring and summer; 

(b) in the autumn; 

(c) during the long winter evenings; 

(d) winter days. 

2. With the rafts on the river. 

(a) Of what the children talk. 

(b) Lischen' s little boats. 

(c) What Lischen wishes and what her father has prom- 

ised. 

(d) What his father has promised Hansel. 

3. Following the Rhine 

(a) through sunny plains; 

(b) between low hills with vineyards; 

(c) between steep cliffs with grand castles and ruins. 

(d) The Storied Rhine. 

Assignment and Discussion. — This should be an exercise 
in silent reading, after which the teacher asks: 

What work does Hansel do in the spring? What work 
does Lischen do in the spring? What work do both do in the 
autumn? What do they do on long winter evenings? 
What have you seen that may have been made by these 
children of the Black Forest? How do some German chil- 



332 THE HALIBURTON TEACHER'S MANUAL 

dren make their living? What does the father of Lischen 
and Hansel do on the long winter evenings? Their mother? 

Where does Hansel go on winter days to help his father? 
What is done with the rafts of logs? Of what do the chil- 
dren love to talk? How does Lischen play by the river? 
Of what poem does this make you think? What does Lischen 
wish and what has her father promised her and Hansel? 

Through what kind of country does the Rhine flow first? 
(Sunny plains.) Through what kind of country next? 
(Low hills.) What would you see on the low hills? Through 
what kind of country does the Rhine finally flow? (Steep 
hills.) What would you see on the steep hills and rocky 
cliffs? What suitable name has been given to the Rhine? 

Guiding Outlines. — 
I. (i The Lorelei." 

1. Lorelei, the famous rock and echo. 

2. Lorelei, the water sprite. 

II. " The Rat Tower of Bingen on the Rhine" 

1. The island tower. 

2. Bishop Hatto: (a) the bishop's wealth; (b) the 

famine; (c) the starving poor; (d) the bishop's 
cruel deed; (e) the rats and the bishop's picture. 
(f) the bishop's escape; (g) the bishop's end. 
The class may follow the above outline in the study of the 
two stories and in reading them aloud. 

Treatment of " The Story Teller." — There is a familiar 
painting, a copy of which may be had for a few cents, which 
seems to have been made for this poem, or the poem for the 
picture. The children should have this picture to study 
and discuss before the poem is read. The children will be 
likely to read this poem well after seeing the picture. It will 
probably be necessary, however, to caution them not to 
pause or lower their voices at the end of the first line in 
stanzas 2, 3, 4, 9, 10, 11, and 12. 



LESSON PLANS AND TYPE LESSONS 



333 



After the poem has been read, the teacher may ask, 
"What story of the Rhine do you think he is telling?" 

This will provide opportunity to have the children retell 
some of the stories of the Rhine from previous lessons. 
The teacher may promise to tell them some other stories of 
the Rhine, and she will find her class intelligently eager to 
hear more of the numberless beautiful stories of the Rhine. 



The City under the Zuyder Zee, Pages 190-196 

Preparation. — Very little in the way of preparatory dis- 
cussion is necessary for this lesson. The bay known as 
the Zuyder Zee should be described by the teacher, and 
found on the map. The Rhine River should again be traced 
from its source to its mouth in the Zuyder Zee. 

Word Study. — A drill in syllabication should be held on 
the following words : 

cap tain ea ger ly a maze ment 

pre cious har bor pre par ing 

car go worth less fi nal ly 

Zuy der Zee trad ers res er voir 

Stav o ren bel fries 

Guiding Outline. — The oral reading of the lesson should 
be preceded by a study recitation and discussion, during 
which the outline given below should be developed, teacher 
and pupils discussing the story and the teacher writing the 
outline on the blackboard as it grows. 

She may say to the class, "In this story we shall read of 
some proud and selfish deeds and the results of those deeds." 

'Proud and selfish things done Results 

Lady Stavoren orders captain Captain brings cargo of wheat, 

to bring cargo of most precious (Discuss reasons which deter- 

thing on earth. (Discuss object: mine selection.) 
To gratify vanity.) Boasts 
made to friends. 



334 THE HALIBURTON TEACHER'S MANUAL 

Lady Stavoren angry. (Dis- Captain begs her to give it 
cuss reason.) Orders wheat cast to starving poor. Obeys orders 
in sea. reluctantly, but says God will 

punish her. 

Lady Stavoren throws ring Next day Lady Stavoren's 

into sea. Says she will look for cook finds ring in stomach of 

punishment when she sees it fish. Sends ring to Lady Sta- 

again. voren. Effect on her. Is it 

often anything is ever found in 

the sea? Was this an accident? 

Same day buildings were burned. 

Ships were lost at sea. Money 

lost. Lady Stavoren becomes a 

beggar. Wishes for wasted wheat. 

Rich refuse to have wall Sand bar fills harbor. People 

mended. Poor can drink wine without work and in need of 

instead of water. water. Poor people beg rich to 

have sand dug away. 

Discussion. — Is it necessary for us to think of others? 
Do we have to think of others at school? At home? Does 
your father have to think of others in his business? Does 
not every one owe some thought and consideration to others 
not so fortunate as themselves? Of whom should Lady 
Stavoren have had some thought and care? Tell me what 
you think of the character of Lady Stavoren. Was her 
punishment too severe for her? Was this too hard a pun- 
ishment for the rich men of Stavoren? Do you suppose 
this story does any good to the children of Holland to 
whom it is told? What good? 

(From such a concluding discussion "the heart of this 
story" is firmly fixed in the minds of the young readers.) 

The Land of Dike and Windmill, Pages 196-210 

Preparation. — The teacher should have the pupils find 
Holland on the map. She should show pictures of the coun- 
try, — its people, its dikes, it windmills, its canal boats, etc. 



LESSON PLANS AND TYPE LESSONS 335 

The teacher should tell them the story, " Peter, the Little 
Hero of Haarlem" and afterwards read to them Carey's 
poem, "Peter at the Dike." 

Word Study. — A drill in syllabication should be held on 
these words: 



Hoi land 


cop per 


in dus tri ous 


marsh es 


dan gling 


e lee trie i ty 


dai ry 







Guiding Outline. — For the silent reading lesson, the fol- 
lowing outline may be put upon the blackboard : 

1. What was once where Holland is now? 

2. How Holland was made. 

3. What the people hope to do. 
h. How they make farming land. 

5. The dikes. 

Their size and appearance; what the largest dikes 
do; what one sees from a big dike; the danger that 
threatens the dikes; the watchers of the dike; the 
alarm bell and its effect. 

6. The windmills of Holland. 

Where they are built; how they are made; how 
they help the land; the different kinds of work 
they do. 

7. The canals of Holland. 

Where they are; what use is made of them. 

8. The people of Holland. 

9. The homes of the Dutch people. 
10. The Dutch farms and farmers. 

Their pastures; their cows; their cow houses; their 
dairies; what they sell from the farms. 



336 THE HALIBURTON TEACHER'S MANUAL 

11. The work of the Dutch. 

Of the women; of the girls; of the boys; kind of men 
and women the boys and girls of Holland grow 
to be. 



Little Brown Hands, Page 202 

Preparation. — This poem of childlife and of nature should 
be read orally, of course, but a certain amount of preparation 
is necessary. Some of the phrases must be made clear to 
pupils who are unfamiliar with the objects, such as, "the 
elder blooms white," "oriole's hammock nest," "mighty 
rulers of state," "the pen of the author," "the sword, the 
chisel, and palette." 

Word Study. — A drill in syllabication may be given on 
the following words : 

el der pal ette au thor 

ham mock o ri ole states man 

slum ber chis el 

Preparatory Talk. — How many of you have ever been in 
the country to stay a while, during the summer and fall? 
Did you ever drive the cows to the pasture and then drive 
them home at evening? Did you ever help make hay down 
in the meadows? Did you ever gather great bunches of 
milky white blooms from the elder bushes? Did you ever 
go grape-hunting in the early fall when the air seemed to 
shed a soft purple light in the afternoons? Did you ever 
hear the partridge or quail whistling in the fields, that were 
growing yellow with the ripening wheat? How does he 
whistle? What does he seem to say? Did you ever see 
the beautiful oriole? Of what colors are his feathers? 
Have you ever found an oriole's nest, swinging like a little 
hammock in a treetop? 

Did you see children at work in the country? How did 



LESSON PLANS AND TYPE LESSONS 337 

they look? How were they dressed? Perhaps they were 
children of poor parents and lived in a humble home. Did 
you feel sorry for them because they had to work? Perhaps 
some of you have had to work in the country on the farm. 
Did you think your lot a hard one because you had to work? 
Have you ever dreamed of becoming a great man or 
woman? Whom do you consider great men and women? 
Kings? Presidents? Statesmen who help to make the laws 
of the land? These are men who are "mighty rulers of 
state"; that is, rulers of the country in which they live. 
Those who can write great books are authors. Would you 
like to be an author? A general, the great leader of an army, 
who knows how to handle the sword and gun? An artist, 
who paints great pictures, who knows how to handle the paint 
brush and the palette? A sculptor, who knows how to use 
the chisel and carve wonderful statues of marble? Let 
us see what our poem says about doing these things. 

With Jan and Gretchen in Summer; A Boating Song; 
Pages 203-207 

Preparation. — Like all these stories which introduce the 
child life of other lands, this selection is partly informational 
and requires less preparatory discussion than the selections 
which are purely informational. Before the children read it, 
however, the teacher should give a fuller description of cer- 
tain things referred to here than there is space for in the les- 
son, such as, "bulb culture," "feeding the hopper of the 
grain mill," "tile floors and cupboard beds." 

As many good pictures of the scenery and life of Holland 
as can be procured should be shown to the class. 

Word Study. — A drill in syllabication should be held on 
the following words: Gretch en sue cess ful 

tu lips u su al 



338 THE HALIBURTON TEACHER'S MANUAL 

Guiding Outline. — The following outline for a study reci- 
tation may be put upon the board: 

1. Jan and Gretchen, — their father's occupation. 

2. Gretchen s morning walk in summer, what she sees. 

3. Bulb culture in Holland. 
1±. Gretchen in the dairy. 

5. Jan's going to the valley market. 

6. Gretchen and Jan at the mill. 

7. Jan and Gretchen on the dike. 

8. Gretchen and her mother's work on Saturday. 

9. How the Dutch kitchen looks on Saturday evening. 
10. Jan and Gretchen and their cupboard beds. 

During the study recitation the pupils discuss with the 
teacher each point in the outline given above, and the teacher 
will thus discover whether the children are getting clear, true 
pictures of childlife in Holland. 

The Boating Song, Page 207 

This poem is so simple and easy that it may be read orally 
with little or no preparation. 

A Day at the Dutch Fair, Pages 208-21^ 
Word Study. — A drill in syllabication should be held 



on the following words 






Ker messe 


ker chief 


pa vil ions 


trou sers 


cen ter 


blus ter ing 


jack et 


skat ers 




mus lin 


vel vet een 





Guiding Outline. — This lesson should include a study reci- 
tation followed by silent reading. The outline follows: 

1. What the Kermesse is. 

2. How Jan dressed himself for the Kermesse. 

3. How Gretchen dressed herself for the Kermesse. 



LESSON PLANS AND TYPE LESSONS 339 

4. When the family starts for the Kermesse. 

5. The boat on the canal near Jan and Gretchen's home. 

6. What Jan and Gretchen saw from their boat. 

Large well-loaded boats and barges on the canal; house- 
boats resting by the canal banks; what the occupants 
were doing. 

7. What Jan and Gretchen think of life on a houseboat. 

8. What was to be seen on both sides of the canal. 

Cattle and farmhouses ; storks on the roofs and in the 
canals. 

9. How Dutch children feel about the stork. 

10. What Jan and Gretchen saw in town. 

Waterways and bridges; the town house; the market 
place; dances and concerts in the park pavilions. 

11 . How Jan and Gretchen felt when they first reached the 

fair and then when they got home again. 

Questions. — These questions should be asked by the 
teacher while the children read silently : 

What is the Kermesse? Where and how long is it held? 
What did Jan and Gretchen do for months beforehand? 
Tell about Gretchen's dress for the fair. Describe the start 
for town. Tell about the boat on the small canal near 
home. With what were the boats and barges on the large 
canals loaded? Why is so little water in Holland fit for 
drinking? 

Tell about the houseboats on the canals. Tell what the 
women and children on the houseboats were doing. Do you 
agree with Jan or with Gretchen about life on a houseboat? 
Tell what each thought about it. What were to be seen on 
both sides of the canal? What did they see the storks do- 
ing? How do Dutch children feel about storks? 

What about the houses and streets in the town to which 
Jan and Gretchen went? Describe the houses in the town. 
Describe the market place and tell what goes on there. 



340 THE HALIBURTON TEACHER'S MANUAL 

What did Jan and Gretchen see at the parks and pa- 
vilions? Tell how Jan and Gretchen felt at first about stay- 
ing in town. Then how they felt when they got back home. 

Winter Song, Page 214. 

This nature poem is simple and can be read by the children 
without difficulty. To those of the class who have experi- 
enced the joys of a snowfall and of skating on ice, every 
idea expressed in the poem will be perfectly familiar. If 
the class reading this book have had no such experience, 
the teacher must do her best to give them clear and ac- 
curate mental pictures of the situation referred to in the 
poem, by means of talks, description, and pictures. 

The class will enjoy returning to this poem after having 
read the following lesson, and will then read it with greater 
pleasure and appreciation. 

With Jan and Gretchen in Winter, Pages 215-221 

Word Study. — A drill in syllabication should be held on 
the following words : 

scram bling cho sen A mer i ca 

rest less re fleet ed 

wist f ul Van Win kle 

Guiding Outline. — For this lesson there should be a study 
recitation following the outline given. No preparatory dis- 
cussion will be necessary for the oral reading, which the class 
will probably enjoy immensely. The outline follows: 

1 . Winter in Jan and Gretchen' s country. 

2. Skating to school and other places. 

3. Some of the holidays and pleasures that come in winter. 
If. An ice-boat; a moonlight night on the frozen canals. 

5. In town the day before " The Feast of St. Nicholas." 



LESSON PLANS AND TYPE LESSONS 341 

6. How Jan and Gretchen and their parents spent the time. 

7. Old Mother Van Winkle and her shop. 

8. The foreign children seen in Mother Van Winkle's shop. 

(a) How they were dressed. 

(b) How they talked. 

(c) Who they were. 

9. What Jan and Gretchen' s father told them about America. 

10. The appearance of St. Nicholas on the streets. 

(a) How he looked. 

(b) How he was dressed. 

(c) How the boys greeted him. 

11. How St. Nicholas is seen every year in all Dutch towns. 

12. What the Dutch children do in expectation of St. Nicholas. 

13. Jan and Gretchen at home after seeing St. Nicholas. 
1^. St. Nicholas' feast in Jan and Gretchen' s home. 

(a) Good things to eat. 

(b) Grandfather and grandmother and their stories. 

(c) The appearance of St. Nicholas with presents. 
15. The day after St. Nicholas' feast. 

(a) Jan and Gretchen' s race to the sea wall. 

(b) What Jan and Gretchen see from the sea wall. 

(c) What father tells of the great ship speeding home. 



The Quest, Pages 222-i 

That this poem is a fitting conclusion for this book will 
be seen at once by any teacher who has ever taught it. 
No preparation is necessary, except the oral reading by the 
teacher before it is read by the class. 

The four stanzas represent the four stages of the restless 
boy's learning his lesson, as follows: 1. The boy's complaint 
to his mother. 2. The boy's promise to his mother. 3. The 
boy's longing for home and mother. 4. The boy returns, 
having learned "that there's no place like home." 



342 THE HALIBURTON TEACHER'S MANUAL 

After the poem has been read without comment of any kind, 
the teacher may ask, "What do you think the title of this 
poem means? Of what did the boy complain in the first 
stanza? What do you think of the boy's home? What did 
the boy promise his mother in the second stanza? What did 
the boy long for in the third stanza? What does the fourth 
stanza show that the boy had learned? Suppose you were 
to make a real trip to all the countries which we have seen 
during our imaginary journeys in this book, do you think 
you would be glad to get back home, like the restless boy 
of our poem? Of what song does this poem make you think? 
("Home, sweet home.") Who knows the song? Let me 
put it on the board so that we can read it thoughtfully. 
Then I should like you to memorize it, and learn to sing it. 
I think you will find pleasure in memorizing this poem, also. 

Type Lessons in Reading from the Fourth and Fifth 

Readers 

Song of Marion's Men, Page 297 of the Fourth Reader 

Preparatory Discussion. — Before the children can fully 
understand and appreciate this poem, they will need to 
know who General Marion was, where he lived, and so forth, 
something, too, of "Marion's Men" and why they were 
determined to drive the Briton forever from their shore. 
To make this discussion most profitable, let the pupils have 
before them the map of the Carolinas, on which they should 
locate the Santee River. When the class thoroughly under- 
stands the historical setting of the poem, the teacher may 
say, "We are going to study now the song which Marion's 
Men might have sung in those exciting times, a song which 
shows us very clearly how much they admired their leader. 
It is called the 'Song of Marion's Men,' and was written 
by one of our leading poets, William Cullen Bryant." 



LESSON PLANS AND TYPE LESSONS 343 

The teacher must read as if she meant every word. Her 
rendering must not be forced, but so earnest, so enthusi- 
astic, convincing, and appreciative, that it portrays vividly 
every change of emotion. The tempo will be medium in 
the first, third, and fifth stanzas, more rapid in the second 
and fourth; her tone should be bright and animated. 

Discussion. — How many of you think this song makes 
us believe that these men truly loved Marion? Now let us 
study each stanza of the song by itself. 

(Read first stanza.) What do you think tried means? 
frank? Why did the British soldier tremble when he heard 
Marion's name? What is a fortress? Why do these men 
call the cypress tree their tent? Why would it make a 
good tent? How well do seamen have to know the sea? 
What are glades? Who can tell us what a morass is? Yes, 
it is very much like the marshes we have in our own woods. 
What are the three pictures in the last four lines? 

(Read second stanza.) What does the first line mean? 
What is the first picture you can see in this stanza? The 
second? The third? What word could be used instead of 
deem? What is a hollow wind? I think it is a wind that 
sounds ghost-like. How many of you have ever heard 
that kind? What other sounds can you hear in this stanza? 

(Read third stanza.) What do you think the first two 
lines mean? Of what does the battle's spoil consist? How 
many pictures can you see in this stanza? How many 
sounds can you hear? What does mock mean? Why do 
the soldiers want to make sport of the wind? Why do they 
slumber long? What makes them slumber sweetly? 

(Read fourth stanza.) Why do the men call the moon 
friendly? Why is it the moon knows this band well? What 
two words in this stanza mean horses? Does anyone know 
how barbs came to have that meaning? It is because some 
of the best horses used to come from Barbary. What word 



344 THE HALIBURTON TEACHER'S MANUAL 

shows that these horses were very spirited? What does 
the word pathless tell us about the forest? Who can give 
us the complete picture in the first eight lines? The pic- 
ture in the ninth line? In the rest of the stanza? 

(Read fifth stanza.) What does grave mean? Why are 
these men grave? What are hoary hairs? What does the 
third line mean? The fifth and sixth lines? Why are the 
lovely ladies glad to see Marion's band? Who can explain 
the meaning of the seventh line? The eighth? What are 
trusty arms? What do the last three lines mean? 

Which stanza do you like best? Why? 

Assignment. — It is essential first of all that the pupils 
enter whole-heartedly into the spirit of this selection and 
make it a paean of praise to General Marion and the bravery 
of Marion's men. In the first stanza the aim must be to show 
the confidence of Marion's men in themselves and in their 
leader; in the second, their evident enjoyment of the terror 
and bewilderment of the Britons; in the third and fourth 
the happy freedom of their outdoor life; in the last their 
determination to be true to those who believe in them. Each 
pupil must feel as he reads that he himself is one of Marion's 
soldiers, voicing that soldier's sentiments. 

Let six or more boys read this selection in concert, on a 
Friday afternoon program. The very nature of the poem 
calls for a concert rendering. A little preliminary practice 
will enable the boys to do this well, and the poem thus given 
will lend a pleasing variety to the program. 



The Village Blacksmith, Page 51 of the Fifth Reader 

Preparation. — The best preparation for an appreciative 
study of this poem will be a visit to the blacksmith's shop, 
where the children may see, hear, and ask questions to their 
hearts' content. Not later than the day after the visit, the 



LESSON PLANS AND TYPE LESSONS 345 

pupils should ask each other questions about what they 
saw, the teacher guiding the discussion. The children will 
enjoy discovering who of their classmates were most observ- 
ing and seeing who can ask the best questions. 

Let the teacher close this preparatory discussion by say- 
ing, "I am going to read you now about another blacksmith, 
one who used to live in Cambridge, Massachusetts. This 
man is described in one of Longfellow's best poems, called 
'The Village Blacksmith.' Notice how much this man 
resembles our own blacksmith." 

Discussion. — Who can tell me one respect in which Long- 
fellow's blacksmith is like ours? One respect in which he is 
different? Let us see now if we know what all of Long- 
fellow's words mean. (Read first stanza.) What would we 
say instead of smithy? What does sinewy mean? brawny? 

The girls may read silently the second, third, and fourth 
stanzas; the boys the fifth, sixth, and seventh, noting any 
words whose meanings you are not sure of. If you find any, 
raise your hand when you have completed the reading. 
. . . Clara doesn't know what chaff and threshing-floor 
mean. Jack, you are a country boy, so we shall let you 
explain those words to us. . . . Tom says he is not quite sure 
what repose means. Who can tell him? 

Let me read the last stanza now and see how many of 
you can tell me what it means. . . . What do you think 
Longfellow means? Yes, we are all smiths, only that we 
are shaping thoughts and deeds instead of horseshoes. 

I want all of you to glance through the poem now and 
find how many words we would have had to explain if we 
had not gone to the blacksmith's. Bellows, sledge, forge, anvil. 

What is the the first picture in the poem? The second? 
The third? The fourth? Who can suggest a name for 
each picture? (The Smithy, The Blacksmith at Work, the 
Children at the Door, etc.) How many sounds can you 



346 THE HALIBURTON TEACHER'S MANUAL 

hear in this poem? Which stanza would be the best one to 
memorize? Why the last one? 

Assignment. — The pupils must make their pictures vivid 
by giving full value to such words and expressions as spread- 
ing, mighty, sinewy, brawny, strong, whole world, week in, week 
out, heavy, measured, slow, etc. They must show that the 
blacksmith is a man well worth knowing. As they read 
they must hear the blowing of the bellows, the ringing of 
the village bell, the swinging of the sledge, the singing of 
the blacksmith's daughter, etc. 

This poem is not too long for one pupil to memorize and 
recite on a Friday afternoon program, or it may be given by 
four pupils, each pupil reading two successive stanzas. 



IV. PHONICS 

Introduction 

It will be found, by glancing through the Haliburton Read- 
ers, that a complete system of phonics has been evolved 
from the subject matter they present. We use the term 
evolved advisedly; for it will also be seen that phonics, as 
developed here, constitutes a means to an end, not the 
end itself. In these Readers, phonics is made subordinate 
to thought; in no instance is "sense sacrificed to sound." 

Without such a system of phonics, no series of Readers is 
complete. Of this Klapper says: 

However literary a reading method may be in its inception and 
early development, its final efficiency is appreciably decreased if it 
does not develop power for independent reading by reducing the 
recognition and interpretation of symbols to the plane of habit. 
Phonics, or phonetics, must be coordinate with thought in any 
reading method, for the following reasons: The child must develop 
the habit of attacking new words that occur in his reading. . . . 
Ability to recognize new word-forms is determined by a knowl- 
edge of phonograms and the sounds which they represent. This 
knowledge of phonics serves an equally important role in spelling. 

A system and graded study of phonics develop clear articulation 
and proper voice control; without these, the purity of spoken 
English degenerates to the careless and vulgar level of the street. . . . 

Every phonic lesson must begin with words containing specific 
phonograms to be taught. The words selected for phonic analysis 
must also be such as are known at sight. The sequence of the com- 
plete lesson is, therefore, from sight words to phonogram, and then 
back again to a rich stock of words formed by phonic synthesis. . . . 

As far as possible the object of phonic drills should be made a 
conscious goal for the children. After a few lessons they should be 
led to realize that phonic mastery means better speech and inde- 

347 



348 THE HALIBTJRTON TEACHER'S MANUAL 

pendent reading. The new attitude which children will take toward 
ensuing lessons dispels the seeming drudgery and guarantees active 
cooperation and interest in personal progress. 

There are a number of terms used in the discussion of 
phonics teaching that may not be altogether familiar to 
those who have never emphasized phonics in teaching read- 
ing. Some of them are the following: 

Phonetic Word: A word that can be "sounded," or mas- 
tered by means of the phonogram; as bat, hate, boat, etc. 
Unphonetic word: A word that cannot be sounded without 
using the mark of elision or other diacritical mark. The 
words their, many, tongue, through are unphonetic words. Un- 
phonetic words are often fancifully called phonetic outlaws. 

Sight Word: A word that is taught as a whole, whether 
phonetic or unphonetic. Pupils are expected to recognize 
at sight such words after they have been taught as wholes. 

Phonogram: The representation of a sound. Phono- 
grams may be simple or compound; that is, may consist of 
one letter or more than one. Initial Phonogram: The repre- 
sentation of a sound which is the beginning of a word. 

Key Words: Words used first as sight words and after- 
wards, for phonetic purposes, divided into phonograms. 
Such words are sometimes called type words. Some teachers 
make a slight distinction between key words and type words. 
For instance, the word boat is a type word when it serves as 
a basis for mastering other words of the same series or 
family; thus, the child says: boat-oat; coat-oat; goat-oat; 
float-oat. All these words belong to the oat family, of which 
the word boat had been made to serve as a type word, or 
basis for building the entire list. Again, the word boat 
may be made to serve as the basis or key word for more 
than one family of words, in all of which is found the hey 
or helper, as it is sometimes called, — in this case oa. Thus : 
boat, coat, goat; road, toad, load; etc. As a type word 



PHONICS 349 

the word boat is divided into only two sounds b and oat; 
as a key word it is divided into three sounds b oat. The 
key words help more than type words in spelling. 

Word Family: Two or more sounds joined together and 
pronounced as a whole. Boat belongs to the oat family. 

Blend: Two sounds blended, given together as one sound. 
In the word black, the two letters b and I form a blend. 
Blending: The process of combining sounds. We often 
speak of blending sounds to form words. 

Analysis: The process of dividing a whole word into its 
component sounds or phonograms. Synthesis: The process 
of combining two or more sounds into one whole. 

The phonic exercises should be kept separate from the 
reading lesson proper, especially during the first year in 
school. By degrees, the pupils gain ability to master 
words for themselves through these phonic exercises. They 
do this largely by trying the drill words and phonograms on 
the new words they find in silent reading. 

The first step to be taken in teaching phonics should be 
in ear training. (See pages 352-355.) The teacher may 
begin with the phonetic names of objects in the room, as 
hat, booh, wall, etc. She may say, "I see a h at." (A little 
later she may say h a t.) "You may bring me your b ook" 
(later, b oo h). "Touch the w all." She may next use pho- 
netic action words; as, run, jump, skip, bow, march, walk, sing. 

Phonetic names of parts of the body furnish interesting 
exercises and good drills, the teacher saying, "Touch your 
h ead, m outh, I ip, t eeth," etc. The phonetic names of colors, 
as, red, blue, green, etc., may be used. In all these exercises 
on present objects, the sense of sight aids the hearing. 

An exercise interesting to the pupils consists in having 
certain objects, such as toy animals, hidden in the teacher's 
desk, or in a box. The teacher gives the sounds in the 
name of one of the objects. A child who recognizes the 



350 THE HALIBURTON TEACHER'S MANUAL 

name whispers it to the teacher, who then allows him to 
take the article from the desk and show it. 

Giving phonetically the initial letters of the children's 
Christian names is also profitable exercise in ear training. 
Each child soon learns to know "his own sound." 

Short imperative sentences are valuable, as a means of 
training the ear. The class soon learn to repeat these sen- 
tences well and crisply. Exercises in training the vocal or- 
gans and then the eye follow these exercises in ear training. 

Much may be accomplished by incidental teaching of 
phonics. The teacher's spoken directions in the manage- 
ment of her classes, and in conducting physical exercises, 
offer opportunities for emphasizing the elementary sounds of 
familiar words; as, You may r i se; You may p a ss; You 
may m ar ch; You may take out your b oo hs; Stretch 
arms u p; Stretch arms d o wn; Hands on h i ps; etc. 

The element of play should enter into these exercises. 
There are many games that have been tried by primary 
teachers and found very effective in ear and lip training. 

The teacher says, "I am thinking of something which some 
of you have seen. It begins like this," and she gives the 
sound of the letter /. The children guess different things 
that begin with the/ sound. The teacher may say, "It rimes 
with dish," but should not do this unless there had been 
much drill upon the initial sounds of words. 

Suggestions to the children that they "get Mamma to 
guess" what they want when they ask for things slowly, as 
m ea t, t ea, br ea d, m i Ik, and so forth, will start all the 
home work in phonics that the teacher can desire and very 
likely more than the parents wish. 

When the time comes for connecting the oral with the 
written symbol, various devices may be used. (See pages 
356-357.) The teacher may say, "You like to march. 
Start to say march. Mr. Chalk will show the word march. 9 * 



PHONICS 351 

She writes the word with a small letter as initial, covers all 
but the initial letter ra, saying, "This letter starts the word 
march. It stands for the sound you made when you started 
to say march." She writes the letter several times, having 
the class give its sound every time she writes it. 

This may lead up to the first writing lesson. The teacher 
says: "Let us make believe your finger is a piece of chalk. 
Write in the air as I write on the board." The teacher writes 
in bold script the letter m. The children trace it in the air. 
They will soon know the symbol, or script form, of the single 
letter that represents the phonogram they know. 

Later, the teacher says: "I shall write the word mat. 
See if you can give the sound of each letter in the word as 
I make it on the board, and you trace it in the air." It 
will not be long before children can write whole families of 
words. This is easy for them when they know and can make 
the script forms of the initial consonants and the simple 
phonograms at, it, et, etc. These exercises all tend to ad- 
vance the children's working knowledge of phonics. 

By the third month in school, the pupils should begin to 
use their knowledge of phonics in their reading work. In- 
teresting sentences should be written on the board, contain- 
ing words that the class should be able to "sound silently" 
or of which they can "think the sounds." These sentences 
should, of course, be read silently before they are read aloud. 
The unknown words, or test words, which the children should 
be able to sound and thus master for themselves, may at 
first be indicated by underlining. But this practice should 
not be continued long. Drills in phonics, as exercises kept 
apart from the reading lesson, are very important. 

There are various ways in which such drills may be con- 
ducted. By means of the Phonic Drill Cards and the wall 
Phonetic Charts the teacher can hold the attention of a 
number of pupils while' conducting these drills in phonics. 



352 THE HALIBURTON TEACHER'S MANUAL 

In order to derive the benefit from these constant drills 
with the Cards or Charts, all of the children should con- 
centrate their attention on each word or phonogram, giv- 
ing the word or the sound in concert. 

Primary teachers often secure this concerted response 
by holding the pointer under the word on the Chart and 
requiring the class to wait until she lifts the pointer before 
they speak. In using the Cards, a similar retarding device 
is the holding of each card at the right of the pack and re- 
quiring the pupils to give the sound together the instant 
the card is placed in front of the pack. 

Preliminary Lessons in Phonics 

A. Ear Training 

Step I 

The teacher may begin the exercises in ear training by 
saying, "Some people speak their words very much more 
slowly than others. We are going to make believe that 
sometimes we can't say all of a word as fast as we really can. 
When I speak any word slowly, those of you who under- 
stand the slow word may do what I ask you to do." The 
teacher's purpose is to have the children listen carefully, 
as they will have to do in order to obey her commands. 

The teacher should give each day just as many as she 
thinks best of the sentences listed below, containing one or 
more "slowly spoken" words, giving the sentences at the 
different periods for recreation, and continuing this practice 
until the children have heard and obeyed most, if not all, 
of the sentences. The words which are divided into two 
parts in the sentences below should be spoken by the teacher 
as naturally as is possible to do, and still utter each of the 
words in two distinct sounds. 

To the children such work seems only play. But the 



PHONICS 



353 



teacher must realize that it is the first step in a very im- 
portant part of her work, — that of training the pupil's ear. 

L-ook in your d-esks. 
G-et your b-ooks. 



N-ow put your b-ooks in your 

d-esks. 
T-ouch your d-esks. 
F-old your h-ands. 
N-ow sh-ow your h-ands. 
Sh-ow me how to sh-oot a g-un. 
Sh-ow me how to w-ave a fl-ag. 
Sh-ow me how you pl-ay a piano. 
Sh-ow me how you use a f-an. 
Sh-ow me how you wr-ite in the 

air. 
St-and in the aisle. 
Face the r-ight. 
Face the l-eft. 

F-ace the b-ack of the r-oom. 
F-ace the front of the r-oom. 
M-ake me a b-ow. 
M-arch toward m-e. 
Qu-ick! bequ-ick! 
F-ace the b-ack of the r-oom 

again. 
M-arch to your s-eats. 
N-ow s-it d-own. 
Th-ank you, ch-ildren. 
T-om may go to the d-oor. 



me, 



to 



Pl-ease open the d-oor. 
Th-ank y-ou, T-om. 
J-ump to me, S-am. 
R-un to me, Henry. 
S-ing for me, Mary. 
C-ome and d-ance with 

Annie. 
Sk-ip with me, Nellie. 
H-op to me, W-ill. 
C-ome to my t-able, Annie. 
Y-ou may ch-oose a book 

read. 
T-ap the b-ell, Tom. 
Br-ing me that b-ox. 
I wish s-ix boys to wh-istle. 
Wh-istle the t-une you like b-est. 
I w-ish s-ix girls to s-ing. 
G-irls, s-ing the s-ong you like 

best. 
You may j-ump ther-o pe. 
You may r-oll the h-oop. 
You may b-eat the dr-um. 
You may sp-in the t-op. 
You may w-ave the fl-ag. 
You may bl-ow the h-orn. 
You may r-ock the d-oll baby to 

sl-eep. 



Step II 

The purpose and procedure in the second step in ear 
training is suggested in the sentences below. In speaking 
these the teacher gives only the first sound of a word instead 
of giving all of the sounds, as before. 

She says, "I shall not speak the whole of the word that 
tells you what I wish you to do. I shall say only one part 
of it; that is, I shall start to say the word and then stop. 



354 THE HALIBURTON TEACHER'S MANUAL 

If any of you know what the word is, you may hold up your 
hand to let me know that you are ready to do what I started 
to ask you to do, and I then will call on one of you to do it." 

In this exercise no word or letter is written or printed 
by the teacher to show to the class. No effort is made to 
have the children make a sound or speak a word. The whole 
object is to continue the ear training, letting the children 
show by action that they know what the word is whose 
initial sound they heard from the teacher's lips. 

"I wish someone to r — ." The teacher gives the sound 
of the letter r, but does not speak the word run. The 
children hold up their hands to show that they know the 
word the teacher started to say. The teacher indicates 
which child she wishes to perform the act. 

I wish someone to j- I wish someone to m- 
(A child jumps.) (A child marches.) 

I wish someone to w- I wish someone to s- 
(A child walks.) (A child sings.) 

I wish someone to d- I wish some one to wh- 
(A child dances.) (A child whistles.) 

Step III 
The teacher begins this exercise by saying to the children, 
" To-day I wish you to tell me what the words are that I 
start to say, instead of showing me by action." 

Teacher: I should like someone to s- 
Pupil: Sing. 

Teacher: I should like someone to wh- 
Pwpil: Whistle. 

Teacher: I should like someone to r- 
Pupil: Run. 

Teacher: I should like someone to d- 
Pujril: Dance. 



PHONICS 355 

Teacher: I should like someone to w- 
Pupil: Walk. 

Teacher: I should like someone to m- 
Pupil: March. 

Teacher: I should like someone to j- 
Pupil: Jump. 

Teacher: I should like someone to h- 
Pupil: Hide. (They may say hop.) 

Teacher: I should like someone to 1- for my pen. 
Pupil: Look. 

Teacher: I like children to be qu- 
Pupil: Quick. (They may say quiet.) 

Teacher: Someone has good sharp ears. Is it y-? 
Pupil: You. 



B. Training the Vocal Organs 

The teacher says, "To-day I wish you to try to speak 
slowly the whole of the word that I speak slowly. You 
must say the whole sentence just as I say it." 

I can r-un. I can f-ind you. 

I can j-ump. I like to do th-is. 

I can w-alk. I saw some a-pples. 

I can d-ance. I saw some e-ggs. 

I can m-arch. I saw some ch-icks. 

I can s-ing. I saw some v-iolets. 

I can wh-istle. I saw some o-xen. 

I can h-ide. I can say z-ee. 

I can 1-augh. I can say u-p. 

I can be qu-ick. I can say i-t. 

I can see y-ou. I went to the sh-ow. 



356 THE HALIBURTON TEACHER'S MANUAL 

The children will make great efforts to speak the sentences 
below in exact imitation of the teacher's slow pronunciation 
if they may be allowed to perform the act as a reward. 

L-ook for the ball. T-oss the ball. 

G-et the ball. P-itch the ball. 

B-ounce the ball. C-atch the ball. 

C. Training the Eye and Vocal Organs 

Step I: Initial Letters and Sounds 

As fast as the children learn in their reading lessons the 
words which are used as key words, as, run, jump, etc., the 
teacher should give daily exercises with the Phonic Drill 
Cards. The child must know thoroughly each of these 
key words as wholes, before the separate initial letter of 
the word is shown to him and before he is asked to practice 
the sound of the letter or connect it with its form. Practice 
in eye training on separate letters is not to be given until 
after all the exercises in ear training have been given as out- 
lined, under Ear Training, Steps I, II, and III. Then 
only, should the class be given daily drills on the key words 
and their initial letters, both in script and print. During 
each drill the teacher writes for the class the key words 
with the initial letter of each written again, below it. The 
children pronounce the word, then give the sound of the ini- 
tial letter. In writing these words, the teacher may say, 
"You see, the first time I write the word, I begin it with a big 
or capital letter. I write the same word again; and this time 
I begin it with the same letter but now it is a small letter. " 

When one or more of these key words are written on the 
board with their initial letters repeated beneath them — thus, 
Run, run ; Get, get — drills should be held, which consist of 
R r G g 
pronouncing alternately the whole word and the sound of its 



PHONICS 357 

initial letter. The key words printed on the Phonic Drill 
Cards should be used in this exercise, so that both the script 
and type forms may be shown together. 

The key words and their initial letters are arranged on 
the Phonetic Chart in the way we recommend for black- 
board work. Work with the Phonetic Chart may begin at 
this time or later, just as the teacher may think best. 



Step II: Phonic Jingles 

In this, the second step, training is given on phonograms 
deduced from the Phonic Jingles which occur throughout the 
Primer. These Phonic Jingles should be used as recom- 
mended in the pages to follow here, before the class begins to 
read from the Primer; if not all can be given in the time al- 
lotted to preliminary work, they should be given as early as 
possible in the school year. 

The Phonic Jingles may be used in any sequence that seems 
desirable, and at any time that the teacher wishes to drill 
her class on some one of the phonograms they emphasize. 

Each jingle is based on a story which we have called the 
basic story of the jingle. These basic stories are to be woven 
into the regular reading lessons of the Primer and First 
Reader. The children will read the jingles when they come 
to them in the book with great interest for having heard 
them before and having memorized and sung the rimes. 
The story upon which a jingle is based should be told by the 
teacher immediately before teaching the jingle. 

The basic story for the jingle which appears on page 51 
of the Primer is as follows : 

Once there was a kitty-cat named Dot. Her little mistress called 
her Dot because she was so little, just a wee tiny dot of a kitten. 

One evening the little kitty-cat sat near the door on a foot mat. 
She felt sure there was a rat somewhere in the room: for she 



358 THE HALIBURTON TEACHER'S MANUAL 

smelled him, though she could not see him. So she sat very still 
listening for the rat. 

Suddenly a bat flew into the room. It flew high and then very 
low, so low and so near the kitty-cat that she saw it quite plainly. 
It was flying like a bird, and yet it looked so much like a rat that 
kitty was puzzled. She said to herself, "What's that?" And, as 
it flew still nearer, she said, "Ah! that's a rat!" She gave a jump 
and her little feet went, Pit-pitty-pat ! after the bat. 

Now all this time the "sure-enough" rat, so sleek and fat, sat 
very still and quiet on the floor behind a big hat. When he saw 
that the kitty-cat, in running after the bat, was coming right 
toward the hat, he thought it was time to leave, so he ran, Pitty- 
pat ! away from the kitty-cat. 

The children will enjoy singing the jingle based upon this 
story, and after hearing the teacher sing the jingle several 
times, they will memorize it easily and quickly. 

When this rime has been memorized by the children, the 
teacher derives the at family from it. The words which make 
up this family are those shown at the right of page 51 in 
the Primer. To do this she says, "I will repeat part of each 
line of the jingle, — all of it except the last word. You may 
finish each line by saying the word which I leave unsaid." 

Teacher: The kitty Children: cat 

Sat on the mat. 

She saw a bat. 

She said, "What's that? 

Ah, that's a rati " 

Pit-pitty- pat! 

All the words that the children say should be written on 
the board for an exercise in training the eye and vocal 
organs. Next the teacher tells the children to listen as 
she speaks slowly the words that they gave her. She speaks 
each word and separates it into two sounds, thus: c-at. 
One pupil pronounces the whole word cat. In this way 
they sound and pronounce the entire list, the children 



PHONICS 359 

telling what each slowly spoken word is. The tables are 
then turned, the teacher asking the child to divide each 
word into two parts after she pronounces it for him. This 
now becomes an exercise in eye training as well, for the 
teacher points to the words on the board, pronouncing each, 
first as a whole and then in two parts; thus: cat, c-at> mat y 
m-at. Finally, the teacher covers the phonogram at of each 
word, letting the class sound the initial consonant; then 
she shows the phonogram at of the same word, for sounding. 
When the whole list has been sounded in two parts, the words 
should be sounded as wholes, just as rapidly as possible. 

The words developed from the above jingle belong to the 
at word family, shown in Group (1) of the Chart. 

None of the work in Phonics as outlined in the foregoing 
exercises is to be exhaustive; that is to say, no teacher 
should expect to do it so thoroughly the first time that it 
will not have to be repeated. In fact, this preliminary 
work is to be done rapidly, though not superficially. 

The key words with their initial letters as well as the 
Phonic Jingles appear at intervals throughout the Primer. 

The other story about the kitty-cat naturally comes 
next. This jingle is to be found on page 57 of the Primer. 
The basic story for this jingle may be given as follows: 

Here is another story about Dot, the kitty-cat. I did not tell 
you how Dot looks. She is perfectly white, as white as snow, 
without a single spot. Her little mistress washes her every day, 
and keeps a pretty blue ribbon tied around her neck. 

The little mistress got her brother and her cousin to make a 
little cot bed for Dot. She said she wished to put Dot in the bed 
and make her stay there for a while so as to punish her whenever 
she is a naughty kitty. 

One day kitty Dot got a dirty black spot on her snowy fur. 
This worried her little mistress very much. 

She said, "Oh, dear me, Dot. Is this not a black spot you have 
got? I wonder where you got it. Tell me, Dot." 



360 THE HALIBURTON TEACHER'S MANUAL 

Dot didn't seem the least bit sorry for getting her clean white 
fur so soiled. So her mistress determined to punish her. 

Dot had been put to bed before in the cot, so as soon as she saw 
it, she began to meow pitifully. Her little mistress was sorry she 
had to punish her, so she patted her and said, "I love you, Dot. 
Do I not, little tot?" But she thought she ought to punish her, 
so she said, "Here's your cot." She put the meowing kitty to bed, 
and as she left the room she said, "Good-by, Dot." 

This and all the other jingles are developed as suggested 
for the one on page 51 of Primer. 

The words developed from this jingle belong to the same 
word family as those in Group (8) of the Phonetic Chart. 

The words developed from the Phonic Jingle based on the 
next story, which occurs on page 64 of the Primer, belong to 
the word family found in Group (5) of the Phonetic Chart. 

Listen to the story of Red Cap. One day as the children were 
going through the orchard, they saw a pretty bird on an old apple 
tree. The feathers on his head were red. The children said they 
looked like a little red cap. The feathers on his breast were yellow, 
and the children said he had on a yellow vest. 

He was a lively little chap, climbing up and down the tree, 
running out on the branches, and then returning to the trunk, 
upon which he began to rap, or knock. Every time he gave a 
peck at the tree, he made a little noise, "Tip-tap, tip-tap." He 
was digging with his bill into the tree trunk. He soon made a 
little gap, or hole, in the tree, and then he proceeded to sip up the 
sap which rose in the little gap he had made. 

The children called out to him, "Ho! Red-cap! little chap!" 

But little Red-cap just kept on rapping, going, "Tip-tap, tip- 
tap!" every time he gave a rap on the tree. After a while he 
flew away, his wings going, "Flip-flap," as he flew. 

Little Red-cap is a kind of woodpecker, the kind that is called 
the sap-sucker. So now you know who little Red-cap is. 

The words developed from the jingle on page 68 belong 
to the word family in Group (13) of the Phonetic Chart. 

This is the story of Tom-tit. 

The children who watched the sap-sucker at work soon saw 



PHONICS 361 

another bird. It was much smaller than the sap-sucker. Its head 
was black where the sap-sucker's was red. The children knew this 
bird. They called him Tom-tit. 

The children watched the wee Tom- tit flit from tree to tree. He 
never seemed willing to sit still for a second. Whenever he lit on 
a tree, the children hoped he would sing a bit for them. But soon 
he would fly from the tree to a fence and hop along the top of 
it. 

Every once in a while he would jerk his head to one side, cock 
his eye at the children, and look at them with a saucy little air, 
as much as to say, "Don't you wish you could catch me?" But 
not a moment was he still. The children said, "Why do you not 
sit where you are, Tom-tit? You wee saucy chit!" 

Soon Tom-tit flew off into the woods, and the children heard 
him saying, "Twit-twitter! twit-twit!" It sounded as if he were 
saying to someone, "Quit! quit it! quit, quit!" 

One of the children said, "I wonder who hit that little Tom-tit. 
He said, 'Quit, quit, quit!'" 

But no one had hit Tom-tit and soon the children heard him 
singing in the woods, "Twit-twitter! Twit-twit! Chick-a-dee-dee ! 
Chick-a-dee-dee ! " Because of this song Tomtit is known as 
chick-a-dee. 

Basic story for the jingle on page 72 of the Primer; Pho- 
netic Chart, Group (16) : 

The children have two little pigs. One of them is named Piggie 
Wig and the other is named Piggie Wee. I'll tell you about Piggie 
Wig first, and after a while I'll tell you all about Piggie Wee. 

Piggie Wig has a funny little curly tail, and the children say he 
is the very cutest pig they ever saw. 

He is very gentle and the children can do anything with him. 
Why, they even dress him up in a little suit of clothes that they 
persuaded their mother to make for him. They have trained him 
to stand up on his hind feet and jump and dance about, more like 
a monkey than a pig. 

The children have a little two-wheeled cart, and when Piggie 
Wig is dressed in his suit, they set him up in this cart and tie the 
lines to his front feet, which they have trained him to hold up 
just as they wish him to do. Then he looks as if he were driving 
the cart as the children pull it along. 



362 THE HALIBURTON TEACHER'S MANUAL 

One day their father saw the children playing with the pig, 
making him dance and then sit up in the cart almost like a 
boy. 

But as soon as they took Piggie Wig's clothes off him, he jumped 
down on all fours, and began to root and dig in the ground just 
like any other hungry little pig. 

That night the children's father drew two pictures of Piggie 
Wig. In one picture he showed him dancing, with a suit of clothes 
on and a wig of curly hair on his head. In the other picture, he 
showed him driving a gig, which is an old-fashioned two-wheeled 
buggy. Then their father wrote a rhyme about Piggie Wig which 
I will read to you and which you may learn to sing. 

For several reasons the jingle on page 106 of the Primer 
should be taught next. One reason for doing so is that the 
phonogram ee is one of the first helps the children need. 

They learn the word see on the second page of the Primer, 
and soon afterwards the words bee, tree, keep, peep, sleep, 
sheep, sweet, and greedy; Phonetic Chart, Group (77). 

The basic story for this jingle is as follows: 

I have told you about Piggie Wig. Now I will tell you about 
Piggie- Wee, who is a most greedy little pig. As soon as he sees any- 
one coming, he begins to squeal, "Wee! Wee! Wee!" He hopes 
they have something for him to eat. 

I am sorry to tell it, but Piggie- Wee often tries to eat up his 
own dinner just as quickly as possible, and then runs to eat all of 
Piggie- Wig's dinner that he can get. 

But once he was properly punished for being so greedy. I'll 
tell you about it. He was in the orchard eating apples, of which there 
were quantities on the ground, when suddenly he saw a very large 
red apple under a tree. On the apple was a bee sucking the juice 
which it wanted, no doubt, to make into honey. But Piggie- Wee 
made up his mind that he would have the apple. When he saw 
the bee, he thought he would get it, too. He said to himself, "See! 
See! See! Here's a bee under the tree. I'll get that bee!" And he 
ran blowing and snorting at the bee. 

But the bee flew at Piggie- Wee, buzzing, "Zee! Zee! Zee!" as he 
flew about Piggie's head, stinging him on his snout and ears and 
all around his eyes. 



PHONICS 363 

This made Plggie-Wee flee, or run away with all his might, and 
as he ran he squealed, "Wee! Wee! Wee!" 

This seemed to fill the little bee with great glee, or pleasure, for 
it was fun for him to see Piggie-Wee run and to hear him squeal. 

(The word See is not shown at the right of page 106 in 
the Primer because of the placing of the picture, but in 
writing the words on the board, the first word written should 
be Wee, the second should be bee, the third should be see, 
then bee again, and so on.) 

Basic story for jingle on page 78 of Primer; Phonetic 
Chart, Group (21): 

One of the children has a pet hen that is as black as jet. Because 
she is so black, the children call her Mother Jet. Mother Jet has 
nine children. Her children are eight little white chicks and one 
little downy yellow duck, which the children call Ducky Bet. 

Now I think that Mother Jet knew from the first that Ducky 
Bet was not just like her other chicks, but Ducky Bet did not 
know it, until something happened one day that caused her to 
know that she was not a chick like the others. 

I will tell you about it. One afternoon Mother Jet left the 
barnyard with her children and went bug-hunting in the woods. 
She intended to have her children safe back in their roosting place 
at the barn before sunset; and I think she had told her children 
that they must be ready to go back whenever she called them, 
before sunset. 

As they went scratching and hunting through the woods, a 
flock of ducks passed on their way to the pond. Mother Jet did 
not know where they were going. But Ducky Bet knew in a 
minute; for as soon as she saw the pond and the ducks going toward 
it, something inside of her little yellow breast told her that she was 
a duck, and she wanted to go swimming with the others. So she 
began talking in her own way to Mother Jet. 

"Peep! Peep! Peep!" she said, which meant, "It's not sunset. 
I cannot let these ducks that I've met leave me yet." Then 
Ducky Bet began to run after the ducks. Mother Jet ran after 
the ducks, and the chicks ran after Mother Jet. 

Mother Jet said, "Cluck! Cluck! Cluck!" which meant in hen- 
talk, "Come back, baby duck, duck, duck." 



364 THE HALIBURTON TEACHER'S MANUAL 

The old ducks waddled along ahead of Ducky Bet, and not one 
of them turned her head to look at the little duck, but they said, 
"Quack! Quack! Quack!" which meant in duck-talk, "Go back, 
back, back!" But the ducky only ran after them the faster, just 
as fast as her little webbed feet could carry her. 

When they reached the pond, in went the old ducks and Ducky 
Bet with them. Mother Jet ran up and down the banks crying, 
"Cluck! Cluck! Cluck!" The chicks ran after her, crying, "Peep! 
Peep! Peep!" The old ducks in the water cried, "Quack! Quack! 
Quack!" and Lad, the children's little dog, ran up and down the 
bank yelping, "Bow-wow-wow!" The children themselves cried, 
"Shoo! Shoo! Shoo!" at Mother Jet, who seemed about to jump 
into the water as she spread her wings, ruffled her feathers, and 
ran toward the pond. 

When she saw Ducky Bet dive head foremost under the water, 
Mother Jet began to fret about Ducky's clothes, that is, her pretty 
yellow feathers. She cried, "My little pet, you must not get your 
feathers wet!" 

Basic story, page 83 of Primer; Phonetic Chart, Group (11) : 

One morning the children had gone for a walk down by a bog, 
or marshy place, in the woods. They had with them their little 
dog, who is very fond of hunting frogs. 

There was a thick fog that morning and the little dog didn't 
see a frog that was sitting on a log, which lay across the muddy 
water of the marsh. The children didn't see it either. But as they 
started to cross on the log, the dog saw the frog and said, "Bow- 
wow-wow!" The frog gave a jump, and went, "Kerchog!" into 
the water. This so surprised one of the children, that he, too, went 
"Kerchog!" into the water, right after the frog! 

However, I am the only one who has ever told this on the boy. 
The children never told it; though they still laugh about the way 
one of them went frog-hunting in the water, and when they wish 
to tease him a little, they just say that one funny word, "Kerchog!" 

Basic story, page 87 of Primer; Phonetic Chart, Groups 

(28), (29), (40): 

One day when the children were in the woods, they saw a little 
wild gray rabbit. They watched him while he sat still in the sun, 
then they saw him run and run as if it were the best fun in the 



PHONICS 365 

world. As he went hopping and leaping along, he came to a big 
stump. That didn't stop him. Over it he went; and then, thump! 
down he came on the other side, with a great bump. But that didn't 
hurt him. For, like a flash, he was off again, striking a bee line 
for his cozy little home, — a deep hole which he had dug for him- 
self in the ground, and there he was as "snug as a bug in a rug," 
the children said. 

Basic story, Primer page 111; Phonetic Chart, Group (26): 

Bossy is a pretty and very gentle cow, and the children love her 
dearly. She wears a little bell at her neck, and it gives out a clear 
sweet tinkle whenever Bossy moves. 

The children say Bossy knows more than any other cow. They 
say she knows where the tenderest green grass grows; where the 
freshest, sweetest water flows; where the softest, coolest wind 
blows. The other cows follow wherever she leads. When it is 
milking time, the children go to hunt for the cows. To find them, 
they just listen for the tinkle of Bossy's little bell, which never 
ceases its sound. The children say that Bossy seems to like its 
sound as well as they do. Whed they hear it, they follow the 
sound, and soon find Bossy and the other cows down in some cool 
shady dell, or valley. 

(Practice on the phonogram ows may be deferred until 
later, if the teacher thinks best.) 

Basic story, Primer page 94; Phonetic Chart, Group (35): 

One day Baby was left all alone in Mother's room for a little 
while. There was no one there to play with her except Dot, the 
white kitty, and Mink, the black kitty. Mink is Baby's own pet 
and she loves him dearly. The children, however, say that Mink 
is no good at all as a playmate, because she is such a lazy kitty. 

When Baby's sister came in, she found Mink asleep on the win- 
dow seat; but Dot was leaping and jumping against the window 
pane, trying her best to catch a fly. 

All flies are shy, or afraid, of kitties that try to catch them, and 
as they are very spry — that is, can move about very quickly and 
nimbly — they are difficult to catch. 

The children watched Dot. She would creep close up to the 
window-pane, and suddenly her little paw would shoot out as 



366 THE HALIBURTON TEACHER'S MANUAL 

quick as a flash, but the little fly was as sly as a fox, and he watched 

every movement of Dot's with his wonderful, wonderful eye. 
Baby's sister took her on her lap and sang, "Baby bye, Here's 

a fly, Let us watch him, You and I." 

Then she said to Kitty Dot, "Catch him! Try!" 

But soon the little fly flew away, out of the window, and Baby's 

sister said to her, "See him fly toward the sky. Say, 'Good-by, 

little fly!'" 

Basic story, Primer page 119; Phonetic Chart, Group (41): 

I have told you that Baby's pet kitty is black. She is very 
black, as black as ink or a real little mink. That is why the chil- 
dren gave her the name she bears. I told you, also, that Mink is 
very lazy. The children say that she looks very silly, too, as she 
sits doing nothing but wink and blink, as if that were everything 
she knows how to do. The children say, "Isn't it a pity she knows 
how to wink? She seems to think that is enough for a kitty to do." 

But when they put a saucer of milk before her, she gets very 
busy, — too busy even to think. 

Basic story, Primer page 99; Phonetic Chart, Group (36): 

One day the children took Baby out to swing under the great 
trees in the yard. It was a lovely spring day. The birds were 
singing joyously overhead. Some of them were singing even when 
on the wing — that is, while they were flying — and they were 
thus bringing their sweetest music to the children. The little 
bell-shaped flowers that grew in the yard moved in the gentle 
breeze as if they were ringing, and trying to fling their sweet frag- 
rance as far and wide as they could upon the soft spring air. 

Everything around seemed full of joy. Baby, dear little thing, 
clapped her hands and laughed aloud, happy as any king. 

The children began to sing. They sang to Baby. They sang to 
the birdies and to the flowers. They sang about the sweet, lovely 
spring weather. 

The song on page 9 of the First Reader may be taught 
long before the children can read from that book, or even 
from the Primer. It develops the phonogram that should 
be presented for ear training quite early in the school year, 
for it is one frequently mispronounced. 



PHONICS 367 

Basic story, page 9 of First Reader; Phonetic Chart, 
Group (39): 

I wish you to hear the story that two dear little bird mates told 
about themselves. This is what they said: 

"We were two very happy little birds once. We are little 
mates, and we wished to find a safe place in which to build 
our nest. We looked and looked for such a place. 

"One day we flew into a tall oak tree and saw the thick rose 
vines that run high up on this tree. We liked the tree and the 
vines, the tree is so tall and the vine so thick and full of briars. 
It would make a very safe place for a nest, we thought. So there 
among the branches of the green tree and the rose vine we hung 
our nest. Soon there were three little eggs in the nest, and I sat 
on them day and night to keep them safe and warm. 

"By and by there were three dear little baby birds in the nest, 
and oh, we little mates were the happiest birds in the world! 

"When the breezes blew soft and free, they swung the little 
nest and rocked the baby birds. 

"On summer mornings the great green tree flung its cool shadows 
all around, and it was then that our sweetest songs were sung to 
the baby birds. Our glad notes had rung out many times when 
something happened which turned our joy to sorrow. 

"Our baby birds were growing fast, and needed many, many 
bugs and other insects to keep alive. One day we both flew away 
to find something for them to eat. We came back to the tall green 
tree. There hung the nest, but our birdies were gone! 

"Now we can no longer be glad and happy. All day we are 
sad, as we search among the green leaves for our young, — our 
baby birds that are gone!" 

The song on page 18 of the First Reader provides an exer- 
cise on words that should be given early in the first school 
year; in fact, soon after the development of the phono- 
gram ee. 

Instead of the customary basic story, page 16 of the First 
Reader may be read to the children as preparation for this 
song. Then the teacher may suggest that they learn the 
two stanzas on page 20 of First Reader and sing the beau- 
tiful air to which these words have been set. 



368 THE HALIBURTON TEACHER'S MANUAL 

The words developed in the song belong to the word family- 
shown in Group (78) of the Phonetic Chart. 

The next rime occurs on page 91 of the First Reader and 
is the song of a winter night. The teacher refers to the 
summer song just taught and prepares the children for this 
rime by the following talk: 

I told you what the big bright moon sees on a summer night. 
Now I want to tell you what she sees on a winter night as she hangs 
like a silvery bow, low in the winter sky. 

She sees the wonderful stars that glitter and glow above the 
white snow down on the earth. She sees the dark waters of the 
river flow so silent and slow. For they cannot run fast, and they 
make little noise: they are freezing under the cold winds that 
blow over them. She sees the shining icicles grow longer and larger 
as they hang from the eaves and from the branches of the trees. 
The cold rain freezes as it falls. Everything is cold and still. 

Then the moon peeps in at the window of a snug little house, 
and she sees something quite different from the cold, still out-of- 
door world. She sees a great open fireplace where flames, rosy red 
and golden, blaze and glow. They throw queer shadows over the 
walls and the floor. Then, as the flames rise higher and shine 
more brightly, they show five merry sprites, or little people, sitting 
in a row in front of the bright fire. These sprites are making a 
great deal of noise and are having the best of times indoors. 

Which do you think the moon likes best, the cold, white, still 
out of doors, or the bright, warm, noisy indoors? 

Let us learn to sing this song of A Winter Night. 

The words developed from this song belong to the family 
shown in Group (121) of the Phonetic Chart. 



Later Lessons in Phonics 
A. Introduction 

The lists of words given in The Haliburton Phonetic Chart 
are, with a few exceptions, duplicated here in the Manual 
for several reasons, one being that the teacher who has no 



PHONICS 369 

Phonetic Chart may copy from her Manual any list of words 
she may need for phonic exercises; or, by the use of a sign 
marker and sheets of manila paper, she can make for her 
school a complete copy of the chart. The principal purpose 
of the Phonetic Chart is to facilitate class exercises and 
rapid review work in sounding letters and combinations of 
letters, when the attention of the whole class must be 
centered upon one phonogram or word. 

Another reason for duplicating the Phonetic Chart in 
the Manual, is that the words for phonic drill may here be 
shown divided into phonograms or syllables, to facilitate 
the teacher's own practice with words and to show her how 
words should be divided in oral drills with the child. But 
the same words are printed in the wall chart undivided. 
The best authorities on such matters affirm that it is detri- 
mental to the child (in the First Grade especially) to be 
shown printed words artificially divided. He should see 
only whole words during the first part if not the whole of 
the first school year. This holds true even of words given 
solely for phonic analysis. 

Both in the wall chart and in the pages of the Manual, 
the key words Run, Jump, Get, etc., with the initial letters 
repeated immediately beneath them, are given before the 
first list of words for phonic exercises. The teacher is not to 
infer necessarily from this that all the prescribed work upon 
these words with their initial letters must be done before 
any work with the ensuing lists of words. As soon as cer- 
tain consonants have been learned — as, for instance, c, m, 
b, th, r, p, f, s, and h, — work in sounding lists of words 
may begin with the first phonic jingles. These key words, 
with their initial letters, are to be used for different pur- 
poses and at different stages of the first year's work. 

The first use of the key words is to teach the child the 
correct and unchanging sound of their respective initial 



370 THE HALIBURTON TEACHER'S MANUAL 

phonograms, so that he will know them when he meets them 
in other words. This knowledge is best developed as follows : 
(1) The teacher points to a key word on the chart, for instance 
the word Run, and then to the initial R below. The child 
pronounces the well known word and then gives the sound 
(not the name) of the initial letter, thus: Run (pronouncing 
the word); R (giving the sound of the letter). (2) The 
teacher points to the small letter r and then to the word run 
above. This time the child first sounds the letter and then 
pronounces the word, thus: r (sounding the letter); run 
(pronouncing the word). 

In this way, the child should pronounce all the key words, 
and sound all the initial letters, shown on pages 1, 2, and 3 
of the Phonetic Chart. The letter x is, of course, given as 
the final sound of the word shown as a key word, Max. 

The capital and small letters, in alphabetical order at the 
bottom of page 3 of the wall chart, are included here for 
rapid review of the sounds of the letters, and, later in the 
year, are to be used for review of the names of the letters. 

The children learn the names of many of the letters in- 
cidentally, but they may be taught to connect the names 
of the letters with the sounds which they already know in 
the following way: "This letter says a; its name is a. 
This letter says e; its name is e. This letter says i; its 
name is I. This letter says o; its name is o. This letter 
says ii; its name is u," etc. The child thus learns the short 
sounds, and then the long, or name sounds, of the vowels. 
The other sounds of the vowels he learns in the different 
combinations of phonograms. Just here it may be said that 
it is well to teach even young children that the letters a, e, i, o, 
u, are called vowels, and that all the other letters are called 
consonants; that w and y are sometimes vowels need not be 
mentioned until considerably later in the work. By the 
end of the first year the pupils should understand and be 



PHONICS 371 

able to speak intelligently of vowels, consonants, and sylla- 
bles. He will early learn to think of the vowels as the 
letters that always "speak out loud" instead of only "trying 
to speak out" or "whispering " as some of the consonants 
do. 

After the names of the letters have been learned gradually, 
and often incidentally, by frequent repetitions and much 
dwelling upon them, the pupils should be able to give rapidly 
both the name and the sound of each letter as it is pointed 
out on the chart, the pupil speaking thus : 



a says a 


n says n 


b says b 


o says 6 


c says c 


p says p 


d says d 


qu says Jew 


e says e 


r says r 


/says/ 


s says s 



g says g (hard g, as in get) t says t 

h says h u says u 

I says I v says v 

j says j w says w 

Je says Je x says Jes 

I says I y says y (as in yes, you) 

m says m z says z 

(The teacher should tell the child that the letter q repre- 
sents no sound and cannot until joined with the letter u.) 

Still later in the work, the letters may be reviewed by the 
pupils giving only the names of the letters, in regular alpha- 
betical order. It is not absolutely necessary that the child 
know, until later than his first school year, the regular alpha- 
betical order of the letters, but, as he is more interested in 
the letters during the first school year than at any time 
afterward, it may be well to have him able to repeat the 
alphabet in order, by the time he has finished his Primer. 



372 THE HALIBURTON TEACHER'S MANUAL 

The "Song of the Letters" on page 122 of the Primer is of 
great assistance in accomplishing this work. 

The procedure of an exercise on any list of words from the 
Phonetic Chart is as follows: (1) The words of the list are pro- 
nounced as wholes by the teacher, one by one, the children 
simply looking at the word and listening to its pronuncia- 
tion. (2) With sheet of paper or cardboard, the teacher 
covers the last part of the word — the part which is alike 
in all — while she sounds the first part; then, uncovering the 
last part, she sounds that. The children sound the word 
in the same way, as the teacher covers arid uncovers for them 
the parts of the word. Neither part of the word must be 
distorted in sound by being dwelt upon too long. The 
word must be pronounced as naturally as possible, although 
more slowly than is customary. The habit of adding false 
sounds to letters is much to be deplored, such as bu for b, 
cu for c, du for d, fu for /, gu for g, hu for h, mu for m, etc., 
resulting in such distortions as, cu a tu, cat; hit a til, hat, etc. 
(3) As the last step in conducting an exercise upon a list of 
words, the teacher should require the child to go down the 
list of words, pronouncing them as rapidly as he can with 
clearness and distinctness. These steps constitute a valuable 
exercise which, if faithfully practiced, will train the children in 
articidation, "the utterance of the elementary sounds of the 
language and of their combinations"; train them in enuncia- 
tion, "the manner of uttering words," and in pronunciation, 
"the utterance of words in accordance with the laws of 
accent, sound, etc." 

Special notes will be found at the head of most of the 
chart pages reproduced in this Manual, which will offer 
specific aid to the teacher. 

Additional lists of words will be found in the Detailed 
Plans for Reading from the Primer (pages 48-108), which 
the child is to build from some word he knows as a whole, 



PHONICS 



373 



having been taught it as a sight word in his reading les- 
sons. Eight such lists of words — the first word in each 
column being the known word — are shown below. 



am 


and 


end 


df 


dam 


hand 


bend 


pelf 


ram 


land 


lend 


self 


jam 


sand 


send 


shelf 


ox 


on 


H 


up 


box 


Don 


gift 


cup 


fox 


fond 


lift 


pup 


fiox 


pond 


sift 


sup 



As another tool with which to dig out words for himself, 
the child should be trained to analyze unknown words, to 
find in them familiar phonograms, which are really known 
words, as shown above. The child who is systematically 
and well trained in the phonic exercises we recommend will 
soon become an independent reader. 



B. The Haliburton Phonetic Chart 






Run 
R 


Page 1 
run 
r 


Get 
G 


get 
g 


Pitch 
P 


pitch 
P 


Catch 
C 


catch 
c 


Bounce 
B 


bounce 
b 


Toss 
T 


toss 
t 


Kick 
K 


kick 
k 


Hide 
H 


hide 
h 


Find 
F 


find 
f 


Jump 
J 


jump 


Walk 

w 


walk 
w 


Dance 
D 


dance 
d 



374 THE HALIBURTON TEACHER'S MANUAL 



Page 2 



Sing 

S 




sing 

s 




Whistle 
Wh 


whistle 
wh 


Show 




show 


Chick 


chick 


Sh 




sh 




Ch 


ch 


Now 




now 




Look 


look 


N 




n 




L 


1 


This 




this 




March 


march 


Th 




th 




M 


m 


You 
Y 




you 

y 




Quick 
Qu 


quick 
qu 


Apples 
A 




appl< 
a 


3S 

PageS 


Oxen 



oxen 
o 


It 


it 




Write 


write 




I 


i 




Wr 


wr 




Violets 
V 


violets 

V 


Eggs 
E 


eggs 
e 




Thank 


thank 


Knows 


knows 




Th 


th 




Kn 


kn 




Up 

u 


up 
u 




Zee 
Z 


zee 
z 


Max 

X 



Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj 
Kk LI Mm Nn Oo Pp Qq Rr Ss Tt 
Uu Vv Ww Xx Yy Zz , 



PHONICS 375 

Page £ 

(1) (2) (4) (6) 

c at 1 ad c an c ab 

m at b ad f an d ab 



b at 


h ad 


man 


Mab 


r at 


s ad 


p an 


Rab 


p at 


sh ad 


v an 


Tab 


fat 


ad 


th an 


ab 


s at 


a 


an 


a 


h at 




a 




th at 


(3) 


(5) 


(7) 


Nat 


b ag 


c ap 


Max 


v at 


hag 


cl ap 


w ax 


ch at 


J ag 


1 ap 


t ax 


at 


rag 


gap 


1 ax 


a 


gag 


s ap 


fl ax 




wag 


ch ap 


ax 




ag 


ap 


a 




a 


a 





Page 5 

The words in Group (11) may present some difficulty as to the 
sound of o, which should be the same in these words as in words of 
Groups (8), (9), and (10). The teacher should insist on the proper 
sound of o in these words, and not permit aw, as dawg, hawg. 



(8) 


p ot 


(9) 


(10) 


c ot 


r ot 


c ob 


c od 


dot 


s ot 


r ob 


n od 


got 


tot 


s ob 


p od 


hot 


sh ot 


j ob 


r od 


j ot 


ot 


m ob 


s od 


lot 


o 


ob 


sh od 


n ot 




o 


od 



376 THE HALIBURTON TEACHER'S MANUAL 



(11) 


(12) 


(13) 


lit 


dog 


h op 


hit 


flit 


bog 


t op 


bit 


qu it 


fog 


st op 


fit 


kn it 


log 


ch op 


tit 


ch it 


hog 


sh op 


p it 


it 


frog 


op 


s it 


i 


og 


o 


w it 




o 









Page 6 

The words in Group (18) are often mispronounced as if they con- 
tained short e instead of short i; for instance, pin as pen. 



(14) 


(16) 


(18) 


(19) 


did 


pig 


pin 


will 


bid 


wig 


din 


fill 


hid 


jig 


fin 


hill 


kid 


rig 


gin 


Jill 


lid 


gig 


kin 


km 


slid 


big 


b in 


mill 


id 


dig 


s in 


rill 


i 


twig 


t in 


sill 


(15) 


|g 


w in 


qu ill 


h im 


i 


th in 


till 


d im 


(17) 


sh in 


still 


r im 


s ix 


ch in 


chill 


v im 


fix 


in 


ill 


sw im 


m ix 


i 


i 


im 


ix 






i 


i 







PHONICS 377 

Page 7 

The words in Group (24) are mispronounced in some localities, 
leg being pronounced as if it were lag. But no words, perhaps, give 
such trouble as those in which e with its short sound comes imme- 
diately before the letter n, as in Group (25); for instance, many- 
people say pin for pen, tin for ten, thin for then, whin for when, etc. 



(20) 


(21) 


(23) 


(25) 


lip 


get 


bed 


h en 


s ip 


bet 


fed 


Ben 


d ip 


j et 


r ed 


d en 


h ip 


let 


w ed 


f en 


J ip 


m et 


led 


k en 


t ip 


p et 


si ed 


p en 


r ip 


s et 


sh ed 


m en 


n ip 


w et 


ed 


t en 


si ip 


fret 


e 


w en 


wh ip 


et 


(24) 


th en 


ch ip 


e 


beg 


wh en 


sh ip 


(22) 


leg 


wr en 


! P 


v ex 


keg 


en 


i 


s ex 


peg 


e 



ex 



Page 8 

Show the child that in short words like those in Group (26) 11 is 
sounded as if there were only one I in the word. Show that in words 
like those in Groups (33) and (34) ss at the end has its sharp sound. 
Require the child to give in words of Group (32) the short sound of 
o, as in not, dot, etc. ; the letter o is sometimes improperly given in 
these words as aw. 

The words in Group (27) require some care. The teacher should 
say of the word gem, "Notice that the letter g in this word has the 
sound of j, as it generally has when it comes before e, i, and ?/." 
She is thus incidentally teaching the names of the letters. In some 



378 THE HALIBURTON TEACHER'S MANUAL 

localities such words as them and stem are mispronounced, as if 
they were tham and stam. 



m 


(28) 


(30) 


(32) 


bell 


Bun 


c ub 


t OSS 


dell 


s un 


hub 


m oss 


fell 


r un 


r ub 


1 OSS 


tell 


f un 


ch ub 


OSS 


w ell 


gun 


st ub 


o 


qu ell 


sh un 


ub 


(33) 


shell 


un 


u 


m ess 


eU 


u 


(31) 


ch ess 


e 


(29) 


h um 


1 ess 


(27) 


dug 


m um 


bl ess 


h em 


bug 


s um 


ess 


gem 


rug 


z um 


e 


st em 


jug 


r um 


(34) 


th em 


sn ug 


dr um 


k iss 


em 


ug 


um 


m iss 


e 


u 


u 


h iss 
iss 
i 



Page 9 

Of words like those in Group (35), the children learn to say, " Y 
at the end of short words says i (name of letter i), as in my." 

In words like those in Groups (36), (37), (38), and (39) the 
children should give as one sound each of the phonograms ing, ong, 
ang, and ung. The teacher should require the phonogram ong to 
be given correctly, that is, with the sound of o as in ox; not 
sawng, lawng, etc. 

(35) thy fry (36) 

my fly sk y s ing 

by sp y spr y th ing 

sh y tr y y k ing 

why sly wing 



PHONICS 379 

sw ing (37) f ang fl ung 

r ing s ong g ang sw ung 

br ing 1 ong r ang ung 

fl ing str ong s ang (40) 

cl ing wr ong ang j ump 

st ing pr ong (39) b ump 

wr ing ong s ung st ump 

spr ing (38) h ung th ump 

ing h ang 1 ung ump 

b ang cl ung u 

Page 10 

In words like those in Groups (41), (42), and (43), the children 
should give as one sound, each, the combinations ink, ank, and 
unk. Of words like those in Groups (44) through (48), the 
child may be taught that, since the letters ck have the same sound, 
they may be given together as if there were only one letter there. 



(41) 


(42) 


(43) 


(44) 


m ink 


th ank 


tr unk 


d uck 


w ink 


b ank 


dr unk 


1 uck 


r ink 


h ank 


b unk 


cl uck 


dr ink 


s ank 


h unk 


pi uck 


br ink 


r ank 


si unk 


p uck 


link 


cr ank 


flunk 


m uck 


blink 


pr ank 


ch unk 


b uck 


cl ink 


f r ank 


p unk 


s uck 


ch ink 


sh ank 


sp unk 


sh uck 


p ink 


1 ank 


sk unk 


t uck 


s ink 


pi ank 


s unk 


tr uck 


th ink 


fl ank 


j unk 


str uck 


ink 


ank 


unk 


uck 
ck 



S80 THE HALIBURTON TEACHER'S MANUAL 

Page 11 

In words like those in Group (49) the teacher should be careful 
that both s and t are sounded distinctly. 



(45) 


(46) 


(47) 


(48) 


J ack 


r ock 


ch ick 


n eck 


b ack 


cr ock 


qu ick 


b eck 


qu ack 


fr ock 


p ick 


d eck 


1 ack 


1 ock 


t ick 


ch eck 


bl ack 


bl ock 


st ick 


fleck 


cl ack 


flock 


lick 


p eck 


p ack 


cl ock 


cl ick 


sp eck 


r ack 


sh ock 


s ick 


wr eck 


tr ack 


s ock 


w ick 


eck 


t ack 


m ock 


br ick 


ck 


st ack 


st ock 


tr ick 


(49) 


kn ack 


kn ock 


th ick 


n est 


ack 


ock 


ick 


b est 


ck 


ck 


ck 

\no 10) 


z est 

est 

st 



From words like those in Groups (50) through (57), the children 
will learn to note the effect of the final e on the preceding vowel, 
when separated from it by a single consonant. Expressed in child- 
like language, "e at the end of words like these makes a, i, o, u and e 
tell their names." 



(50) 


fad 


(51) 


c ap 


fat 


f ade 


c an 


c ape 


f ate 


m ad 


c ane 


n ap 


m at 


m ade 


f an 


n ape 


m ate 


glad 


f ane 


t ap 


h at 


gl ade 


p an 


t ape 


h ate 


ade 


p ane 


ape 




a-e 




a-e 





PHONICS 






(52) 


r id 


(53) 


p in 


bit 


r ide 


d im 


p ine 


b ite 


hid 


d ime 


fin 


qu it 


h ide 


r im 


f ine 


qu ite 


slid 


r ime 


sh in 


wh it 


si ide 


si im 


sh ine 


wh ite 


ide 


si ime 


ine 




i-e 




i--e 



381 



Page 13 

From words like those in Groups (58), (59), and (60), the chil- 
dren learn that "se at the end of most words says z" (giving the sound 
of z). From words like those in Groups (61), (62), and (63) the 
children learn that ge at the end of a word gives the sound of j. It 
is to be recalled here that g before e almost always sounds like j. 



h op 


c ub 


n ose 


rag 


h ope 


c ube 


r ose 


r age 


P op 


tub 


p ose 


sag 


p ope 


t ube 


ch ose 


s age 


si op 


c ut 


ose 


wag 


si ope 


c ute 


se 


w age 


ope 


u-e 


(59) 


age 


o-e 


(57) 


f use 


ge 


(55) 


m et 


m use 


(62) 


n ot 


m ete 


r use 


dog 


n ote 


p et 


use 


d oge 


r ot 


p ete 


se 


oge 


r ote 


ete 


(60) 


ge 


v ote 


e-e 


r ise 


(63) 


ote 




w ise 


hug 


o-e 




ise 


h uge 






se 


uge 
ge 



382 THE HALIBURTON TEACHER'S MANUAL 

Page Ik 

From Groups (64) and (65) the child learns that "ce at the end 
of a word has the sharp sound of s" From Groups (66) through 
(71) it will be seen that ch and sh at the end of words have the 
same sound as at the beginning of words. From Groups (72) 
through (76) tch at the end of a word has the same sound as ch. 



(64) 


(66) 


(69) 


(72) 


f ace 


h ash 


m uch 


c atch 


1 ace 


s ash 


s uch 


b atch 


pi ace 


m ash 


uch 


h atch 


r ace 


d ash 


ch 


1 atch 


gr ace 


r ash 


(70) 


m atch 


tr ace 


sh 


r ich 


p atch 


ace 


(67) 


wh ich 


sn atch 


ce 


d ish 


ich 


atch 


(65) 


fish 


ch 


tch 


m ice 


w ish 


(71). 


(73) 


n ice 


ish 


b unch 


f etch 


r ice 


sh 


p unch 


v etch 


pr ice 


(68) 


1 unch 


str etch 


v ice 


h ush 


h unch 


etch 


ice 


m ush 


m unch 


tch 


ce 


g ush 


unch 






ush 


ch 






sh 


Page 15 




(74) 




(75) 


(76) 


p itch 




n otch 


Dutch 


d itch 


1 


bl otch 


cr utch 


h itch 




otch 


utch 


w itch 




tch 


tch 


itch 








tch 









PHONICS 



383 



From words like those in Groups (77) through (81) it will be 
seen that the phonogram ee has the long or name sound, of the 
letter e. The teacher should require the pupils to give this sound 
before the letter r just as they do before k, p, and other consonants. 



(77) 


(78) 


(79) 


pr een 


s ee 


sh eep 


s eek 


sh een 


b ee 


p eep 


m eek 


een 


w ee 


deep 


w eek 


ee 


z ee 


k eep 


ch eek 


(81) 


flee 


si eep 


eek 


d eer 


glee 


cr eep 


ee 


b eer 


fr ee 


sw eep 


(80) 


j eer 


ch ee 


eep 


qu een 


ch eer 


th ee 


ee 


s een 


qu eer 


tr ee 




gr een 


eer 


thr ee 




k een 


ee 


ee 









Page 16 

From words like those in Groups (82) through (85), the children 
learn that in most words oo has the sound given to it in such words 
as moon, that is, the long sound of oo. It is very difficult for some 
children to give this sound immediately before r, as in the word 
poor. The teacher should insist upon its correct sound, however. 

From Groups (86) and (87) it is seen that in some words oo has 
a different sound, the short sound of oo, as in good, look, etc. 

From Groups (88), (89), and (90) the children learn that ai 
gives the name sound of the letter a, that is, the long sound of a. 



(82) 


d oom 


m oose 


n oon 


r oom 


oom 


oose 


1 oon 


br oom 


oo 


oo 


c oon 


1 oom 


(83) 


(84) 


sp oon 


bl oom 


g oose 


m oon 


sw oon 


gl oom 


1 oose 


s oon 


oon 


b oom 


n oose 


b oon 


oo 



384 THE HALIBURTON TEACHER'S MANUAL 

(85) h ook st ood br ain 



p oor 


n ook 


ood 


dr ain 


m oor 


br ook 


oo 


ch ain 


b oor 


sh ook 


(88) 


st ain 


oor 


ook 


r ain 


Sp ain 


oo 


oo 


gain 


sw ain 


(86) 


(87) 


m ain 


ain 


1 ook 


g ood 


v ain 


ai 


b ook 


h ood 


p ain 




c ook 


w ood 


tr ain 





Page 17 

From Group (91) it will be seen that ay also has the name sound 
of a. 

From words like those in Groups (92) through (95) it will be 
seen that ea has the long sound or name sound of the letter e. It 
is difficult for some children to give this sound correctly before r, 
but the teacher should require them to do so. 



(89) 


(91) 


(92) 


(94) 


t ail 


hay 


m eat 


d ear 


p ail 


may 


b eat 


h ear 


m ail 


day 


ch eat 


n ear 


s ail 


say 


h eat 


f ear 


w ail 


gay 


wh eat 


t ear 


r ail 


J ay 


eat 


y ear 


tr ail 


lay 


ea 


sh ear 


ail 


play 


(93) 


ear 


ai 


st ay 


s earn 


ea 


(90) 


ray 


t earn 


(95) 


m aid 


gray 


st earn 


r each 


1 aid 


pray 


r earn 


t each 


p aid 


ay 


dr earn 


p each 


st aid 




cr earn 


b each 


aid 




earn 


each 



ai ea ea 



PHONICS 385 

Page 18 

From Group (96) it is seen that ea has also the sound of short e. 

In Groups (97) through (100), aw sounds as in saw. 

In Groups (101) through (104), au has the same sound as aw. 



(96) 


(97) 


(98) 


(101) 


h ead 


s aw 


d awn 


Paul 


d ead 


j aw 


f awn 


h aul 


1 ead 


p aw 


1 awn 


m aul 


r ead 


1 aw 


p awn 


S aul 


br ead 


cl aw 


dr awn 


aul 


dr ead 


si aw 


awn 


au 


tr ead 


fl aw 


aw 


(102) 


thr ead 


r aw 


(99) 


f ault 


st ead 


str aw 


h awk 


v ault 


spr ead 


th aw 


g awk 


ault 


ead 


squ aw 


squ awk 


au 


ea 


aw 


aw 


(103) 






(100) 


fr aud 






dr awl 


aud 






spr awl 


au 






awl 


(104) 






aw 


p ause 
c ause 

ause 

au 



Page 19 

From words like those in Groups (105) through (110) it is seen 
that oa has the name sound, or long sound of o. In such words as 
those in (111) the children give as one sound the combination old. 

In such words as those in Group (112) the children give as one 
sound the combination oy. The same sound is given to the letters 
oi, in words like those found in Groups (113) and (114). 



386 THE HALIBURTON TEACHER'S MANUAL 



(105) 


(108) 


(in) 


(113) 


b oat 


r oar 


c old 


boil 


c oat 


b oar 


bold 


c oil 


g oat 


s oar 


fold 


foil 


fl oat 


oar 


gold 


s oil 


oat 


oa 


hold 


toil 


oa 


(109) 


s old 


sp oil 


(106) 


m oan 


old 


br oil 


r oad 


r oan 


(112) 


oil 


1 oad 


gr oan 


boy 


oi 


t oad 


oan 


toy 


(114) 


g oad 


oa 


c oy 


m oist 


oad 


(110) 


j oy 


h oist 


oa 


c oast 


Roy 


j oist 


(107) 


r oast 


oy 


oist 


c oal 


t oast 




oi 


goal 


oa 






oal 








oa 









Page 20 

To obtain the correct sound of ou, have children "start to say" 
out and utter all the word except the letter t. This sound of ou is 
not always correctly given. It is found in the words of Groups 
(115) through (118). The words in Groups (119) and (120) show 
the phonogram ow, which in these words has the same sound as ou. 

From words like those in Group (121) it will be seen that the 
letters ow represent another sound; that is, the sound of long o, as 
in the word show. 

(115) wound (116) (117) 

f ound r ound h ouse sh out 

b ound gr ound m ouse b out 

m ound ound gr ouse fl out 

p ound ou ouse p out 

s ound ou r out 





PHONICS 




spr out 


(119) 


cl own 


si ow 


st out 


n ow 


br own 


gl ow 


sh out 


h ow 


cr own 


sn ow 


out 


c ow 


own 


r ow 


ou 


b ow 


ow 


gr ow 


(118) 


r ow 


(121) 


cr ow 


1 oud 


ow 


sh ow 


st ow 


cl oud 


(120) 


b ow 


ow 


pr oud 


d own 


1 ow 




oud 


t own 


bl ow 




ou 


g own 


fl ow 





387 



Page 21 

From words like those in Group (122) it will be seen that one 
sound of ew is that of long u, that is, the name sound of the letter u. 
This correct sound is not always given to the phonogram ew and 
to the letter u, when they follow the letter I, as in words like blew, 
flew, clew; blue, clue, flue, etc. Teachers should try to secure this 
correct sound of ew and the letter u after I. 

From words like those in Group (123), it will be seen that ew has 
a second sound, which is that of oo in the word moon. This second 
sound of ew should never be given after the letter I, but it is always 
given after the letter r. 

From words like those in Groups (124) through (128) it will be 
seen that ar represents the sound in the word park. 

From words like those in Groups (129) and (130) it will be seen 
that the letters are represent one sound; air. 



(122) 


(123) 


h ark 


(125) 


n ew 


ch ew 


1 ark 


m arch 


p ew 


gr ew 


m ark 


p arch 


f ew 


dr ew 


p ark 


st arch 


d ew 


br ew 


sp ark 


arch 


st ew 


ew 


sh ark 


ar 


bl ew 


(124) 


ark 


(126) 


fl ew 


b ark 


ar 


f arm 


ew 


d ark 




h arm 



388 THE HALIBURTON TEACHER'S MANUAL 



ch arm 


am 


(129) 


p ar 


arm 


ar 


f ar 


p are 


ar 


(128) 


f are 


t ar 


(127) 


1 arge 


b ar 


t are 


b am 


b arge 


b are 


st ar 


d arn 


ch arge 


c ar 


st are 


y arn 


arge 


c are 


are 


t arn 


ar 







Page 22 

From words like those in Group (131) it will be seen that the 
phonogram air represents the same sound that are represents in the 
words fare, bare, etc. From words like those in Groups (132) 
and (133) it will be seen that er and ir have the same sound, 
and in Group (154) that ur has nearly, but not quite, that sound. 

(130) (132) (133) (134) 



d are 


h er 


s ir 


f ur 


h are 


f ern 


st ir 


c ur 


m are 


t erm 


b ird 


c url 


w are 


h erd 


third 


furl 


sh are 


p ert 


girl 


h url 


are 


j erk 


wh irl 


b urn 


(131) 


cl erk 


tw irl 


t urn 


h air 


p erch 


f irst 


ch urn 


f air 


m erge 


th irst 


h urt 


1 air 


s erge 


birth 


1 urch 


p air 


v erge 


g irth 


ch urch 


st air 


er 


ir 


ur 


ch air 









air 

Page 23 

From words like those in Groups (135), (136), and (137) it will 
be seen that ear nearly always represents the same sound as er 
before the letters n, th, I, and d, as heard. 



PHONICS 389 

From Group (138) it must be taught that the sound of or is 
not the same as ar, although they are often pronounced alike. 

From Group (139) may be seen that "W before or makes or 
sound like ur." In Group (140) oil represents one sound. 

From words like those in Group (141) it will be seen that the 
letters ie in many words represent the long or name sound of e. 



(135) 


(138) 


(139) 


(141) 


1 ear n 


h orn 


w ork 


field 


y ear n 


c orn 


w ord 


y ield 


ear n 


b orn 


w orm 


sh ield 


ear 


m orn 


w orld 


thief 


(136) 


th orn 


w orse 


ch ief 


ear th 


1 ord 


w orst 


br ief 


dear th 


e ord 


w orth 


lief 


ear 


s ort 


or 


f iend 


(137) 


sh ort 


(140) 


p ierce 


ear 1 


f ork 


roll 


f ierce 


pear 1 


st ork 


boll 


pr iest 


ear 


h orse 


toll 


shr iek 




or 


troll 


ie 



Page U 

From words like those in Group (142) it will be seen that the 
letters igh represent the long sound, or name sound, of the letter i. 
In some localities the addition of the letter t seems to modify 
— incorrectly — the sound of igh. In Groups (143) and (144) the 
combinations ind and ild each represent one sound. 

From words like those in Groups (145), (146), and (148) it will 
be seen that the combinations all, alt, aid, each represent one sound. 

From words like those in Group (147) it will be seen that the 
letters alk represent one sound, awk. 



(142) 


nigh 


r ight 


kn ight 


h igh 


n ight 


fr ight 


igh 


s igh 


m ight 


light 




high 


fight 


pi ight 





390 THE HALIBURTON TEACHER'S MANUAL 

(143) (144) 

f ind ch ild 

b ind m ild 

k ind w ild 

m ind ild 

r ind (145) 

gr ind b all 

w ind c all 

bl ind f all 

ind h all 

tall 

st all 

Page 25 

In words like those in Groups (149) and (150) the letter / is 
silent and the letter a has the Italian a sound. The teacher should 
give aim as one sound, as in the word calm, and alf also as one phono- 
gram, as in half. The short a sound is not correct in these words. 

From the correct pronunciation of the words in Groups (152) 
through (161) it will be found that the sound of a before the letters 
sk, st, ss, sp, ft, ff, th, nt, nee, and nch is the Italian a sound, not the 
short a sound. The teacher should, by drill, strive to have the 
children give correctly and use constantly and consistently, this soft 
and beautiful sound of a in such words. 



w all 


balk 


sm all 


c alk 


all 


st alk 


(146) 


ch alk 


halt 


alk 


m alt 


(148) 


s alt 


bald 


alt 


sc aid 


(147) 


aid 


w alk 




talk 





(149) 


(151) 


t ask 


(154) 


c aim 


d aunt 


fl ask 


p ass 


b aim 


h aunt 


ask 


m ass 


p aim 


t aunt 


a 


b ass 


qu aim 


aunt 


(153) 


1 ass 


aim 


aun 


f ast 


gl ass 


(150) 


(152) 


1 ast 


cl ass 


c alf 


ask 


bl ast 


ass 


half 


b ask 


p ast 


a 


alf 


c ask 


c ast 






m ask 


ast 
a 







PHONICS 




(155) 


(156) 


sh aft 


(157) 


g asp 


daft 


aft 


ch aff 


r asp 


r aft 


a 


qu aff 


gr asp 


gr aft 




st aff 


cl asp 


dr aft 




gaff 


h asp 


w aft 




aff 


asp 






a 


a 









391 



Page 26 

From words like those in Groups (162), (163), and (164) will be 
seen the effect of w, wh, and qu upon the letter a when they come 
immediately before it. They give to a the sound of short o. Many 
children mispronounce such words, as wuz, whut, etc. The words 
water and want are exceptions to the rule given above regarding the 
effect of w upon the following a. In these two words the a has the 
same sound that it has in the word wall. 

From words like those in Group (165) it will be seen that w has 
much the same effect upon the combination ar, giving it the same 
sound that or has in the word horn. 



(158) 


(160) 


(162) 


(164) 


b ath 


d ance 


w as 


squ ad 


p ath 


1 ance 


w asp 


squ ab 


lath 


gl ance 


w ash 


squ ash 


ath 


tr ance 


w an 


a 


a 


pr ance 


w and 


(165) 


(159) 


ance 


w atch 


w ar 


p ant 


a 


wh at 


w art 


pi ant 


(161) 


a 


w arm 


si ant 


br anch 


(163) 


sw arm 


gr ant 


bl anch 


sw an 


w arn 


ch ant 


anch 


sw ap 


sw ard 


c an't 


a 


sw amp 


ar 


sh a'n't 




a 




ant 








a 









392 THE HALIBURTON TEACHER'S MANUAL 



Page 27 

In Groups (166), (167), and (168) the children should give as 
one sound the phonograms aught, ought, and eigh, the last having 
the same sound as long a. In Groups (169), (171), and (172), the 
combinations en, in, and un should each be given as one phono- 
gram. 

In giving the words of Groups (171) and (172) the child will re- 
member that ge at the end of a word has the sound of the letter ,;. 
From Group (170) it will be found that dge at the end of a word 
has the sound of the letter j. 



(166) 


(168) 


(170) 


(171) 


c aught 


si eigh 


br idge 


f r inge 


t aught 


n eigh 


r idge 


h inge 


n aught 


w eigh 


1 odge 


t inge 


fr aught 


f r eight 


d odge 


cr inge 


aught 


eight 


b adge 


s inge 


(167) 


eigh 


j udge 


ge 


th ought 


(169) 


n udge 


(172) 


b ought 


f ence 


gr udge 


1 unge 


br ought 


h ence 


h edge 


pi unge 


n ought 


s ince 


w edge 


ge 


ought 


pr ince 


1 edge 






d unce 


pi edge 






ce 


dge 





Page 28 

The exercises in Groups (173) through (176) are given for drill 
on the blends, hi, cl, etc. The teacher should remember that when 
two or more consonants are given together, they should blend; 
that is, they should be pronounced together, as nearly as possible 
with one impulse of the voice. These blends are often incorrectly 
given when sounding a word, for instance, in sounding the word 
black, bl is often given as it were ble. This is wrong : bl in black is 
not the same sound as ble in table, etc. 





PHONICS 




(173) 


(174) 


(175) 


(176) 


blame 


broke 


train 


sprain 


bl 


br 


tr 


spr 


claim 


cream 


skate 


strike 


cl 


cr 


sk 


str 


flame 


dream 


scold 


scream 


fl 


dr 


sc 


scr 


gloom 


frame 


speak 


shriek 


gi 


fr 


sp 


shr 


please 


grove 


sweet 


throne 


pi 


gr 


sw 


thr 


sleep 


pride 


splash 


small 


si 


pr 


spl 


sm 



393 



Page 29 

Groups (177) to (188) inclusive furnish exercises in syllabication 
and rapid pronunciation. In these words the first syllable should 
be pronounced as if it were a complete short word, many of them 
being in reality whole words ; as, pen, fun, mud, pup, pop, grit, knot, 
bag, crag, fan, bat, lit, bun, can, gig, etc. The child should be told 
that in words containing more than one syllable, the letter y at the 
end of words has its short sound, which is the sound of i in the word 
it. He should also be reminded that c before i, e, and y has the 
sharp sound of s, and that the letter g before e, i, and y generally 
has the sound of j. The syllables ly, ny, dy, py, ty, gy, zy, cy, etc., 
may each be given as a single sound. 

In such words as those in Groups (185) through (188) the 
second syllable should be given as if it contained only the blended 
letters tl, bl, dl, pi, gl, etc., the final e being silent. 



(177) 


(178) 


(179) 


(180) 


jel ly 


pen ny 


rud dy 


happy 


silly 


fun ny 


mud dy 


puppy 


dolly 


bon ny 


giddy 


poppy 


ly 


ny 


dy 


py 



394 THE HALIBURTON TEACHER'S MANUAL 

(181) (182) (183) (184) 

grit ty bag gy diz zy fan cy 

jet ty shag gy fuz zy mer cy 

knot ty crag gy friz zy sau cy 

ty gy zy cy 

(185) (186) (187) (188) 

gen tie bun die ap pie gig gle 

bat tie can die am pie wrig gle 

lit tie med die sim pie strug gle 

tie die pie gle 



Page 30 

Nothing in the entire study of phonics is of more importance than 
drill on syllables, especially upon those in Groups (189) to (210) 
inclusive. In these drills the vowel at the end of each syllable 
should always be given its long sound, that is, its name sound. 
The vowels should never be given their short sounds, when they 
come at the end of syllables. "Every vowel, except the uncertain 
vowel i, tells its name when it forms a syllable by itself or when it 
comes at the end of a syllable." In drilling upon long words, 
such as occur in Groups (221) through (224), the meaning and 
effect of the accent mark should be taught. The child should be 
shown that it is only because of the way we pronounce words in 
accordance with the accent that we do not always hear these 
long sounds of the vowels in pronouncing a long word, as we do 
hear them when we syllabify the same word. By the end of his 
third school year he should know the few diacritical marks used in 
this Manual (omitted from the Phonetic Chart). 

(189) (190) (191) (192) 

ba ca da fa ga ha ja 

be ge de fe ge he je 

bi cj dl fi gi hi ji 

bo co do fo go ho jo 

bii cii du fu gu hu jti 



l) 


(193) 


(194) 


ka 


la 


ma 


pa ra 


ke 


le 


me 


pe re 


ki 


li 


mi 


pi ri 


ko 


16 


mo 


po ro 


ku 


hi 


mu 


pii ru 





PHONICS 






Page 


31 




(195) 


(196) 


(197) 


(198) 


va 


sa 


ta 


a 


ve 


se 


te 


e 


VI 


si 


tl 


I 


vo 


so 


to 


o 


vu 


su 


tu 


u 


(199) 


(200) 


(201) 


(202) 


ba bf 


bo ny 


co zy 


ru by 


lady 


pony 


do zy 


fury 


sha dy 


po sy 


gory 


jury 


ha zy 


ro sy 


glory 


tidy 


lazy 


holy 


sto ry 


tiny 


era zy 


y 


duly 


wily 


y 




t 


f 




Page 


32 




(203) 


(204) 


(205) 


(206) 


Babel 


ta per 


ha zel 


libel 


la bel 


pa cer 


ra ven 


di al 


fa ble 


fa vor 


ca ret 


fi nal 


ga ble 


ma jor 


na ked 


ri val 


ta ble 


ra zor 


ma vis 


vi al 


sta ble 


va por 


ba sis 


vi tal 


la die 


la bor 


ba sic 


tri al 


ba ker 


na val 


ma son 


li ar 


sa ber 


na sal 


ma tron 


vi ol 


ca per 


pa pal 


na bob 


bi as 


pa per 


fa tal 


pa tent 


li on 




ba con 


va cant 


di van 



395 



396 THE HALIBURTON TEACHER'S MANUAL 





Page 


33 




(207) 


(208) 


(209) 


(210) 


pi lot 


po ker 


cu. bit 


su. et 


ri ot 


no ble 


cu bic 


tu lip 


qui et 


Ko ran 


hu man 


du al 


pi rate 


fo rum 


hu mid 


lu nar 


ci der 


co Ion 


ju rist 


ru ral 


di ver 


bo nus 


lu cid 


pe wit 


fi ber 


bo rax 


lu rid 


fe ver 


ri fle 


po tent 


mu cus 


pe an 


trifle 


mo ment 


mu sic 


le gal 


Bible 


ro dent 


ru in 


ce dar 



Page 34 

From words like those in Groups (211) and (212) the pupil may 
learn that ed has different sounds in different words : like the letter 
d in rolled, like the letter t in hopped, and the syllable ed as in 
counted. These Groups also give key words for drills on the com- 
binations es, ble, die, gle, pie, tie, Me, fle, and zle. In Groups (213) 
and (214) are key words for drills on the final syllables, low, ture y 
Jul, ley, ous, sion, Hon, tive, ish, ness, tious, and cious. 



(211) 


(212) 


(213) 


(214) 


rolled 


giggle 


yellow 


motion 


ed 


gle 


low 


tion 


hopped 


cripple 


picture 


captive 


ed 


pie 


ture 


tive 


counted 


gentle 


careful 


finish 


ed 


tie 


ful 


ish 


fishes 


pickle 


valley 


goodness 


es 


kle 


ley 


ness 


crumble 


drizzle 


nervous 


captious 


ble 


zle 


ous 


tious 


fiddle 


ruffle 


mission 


luscious 


die 


fle 


sion 


cious 



PHONICS 397 

Page 35 

From words in Groups (215), (216), and (217) it will be found that 
the combinations ar, er, ir, and or do not have their usual sounds 
when a second r follows the first r. The pupil must give to each 
vowel its regular short sound and to both r's the sound of single r, 
as in marry, terror, horror, mirror, etc. In Group (217) the pupil 
should give the long sound of ow in the last syllables, and not 
as if the final syllable were er. 

Of words in Group (218) the fact that the letter t is silent 
may or may not be mentioned, but the syllables tie and ten should 
be sounded as if they were represented by the letters I and en. 
The word often is mispronounced if the letter o is sounded as aw 
and if the letter t is sounded instead of elided. 

Words like those in Group (219) could not be analyzed or 
sounded correctly by the child alone. The words must be divided 
thus : an ger, an gle, an kle. In dictionaries such words are marked 
with a line under the letter n, thus : an ger, an gle, an kle. This 
is to show that the letter n must be treated as a double sound; it 
has the sound of both n and g when it comes immediately before g, 
and of n and & when it comes before k. That is to say that the 
syllable an is to be given as if it were ang or ank, but the syllables 
following must have their full sounds of ger, gle, and kle; as if 
the words were spelled ang ger, ang gle, ank kle. 



(215) 


(217) 


(218) 


(219) 


car ry 


ar row 


cas tie 


an ger 


mar ry 


nar row 


nes tie 


Ion ger 


ber ry 
cher ry 


spar row 
fur row 


le 
lis ten 


fin ger 
lin ger 


hur ry 


bur row 


of ten 


man gle 


flur ry 


mor row 


en 


tin gle 


sor ry 


sor row 




jin gle 


(216) 
ter ror 






ng 
an kle 
tin kle 


hor ror 






twin kle 


mir ror 






nk 



398 THE HALIBURTON TEACHER'S MANUAL 

Page 36 

The words in Groups (220) through (224) are included for the 
purpose of showing the kind of words upon which drills in syllabica- 
tion should be given. It will be seen that most of the syllables 
end with a vowel. In exercises for syllabication the pupil calls 
each syllable with no attempt at accent, until the last syllable has 
been given; then he should pronounce the whole word with the 
correct accent. 

(220) 
ha lo he ro so lo ty ro 

sa go ne gro do do dit to 

(221) 



to ma to 


to bac co 


vol ca no 


po ta to 


mu lat to 

(222) 


mo men to 


bot a, nf 


eel e rf 


prod i gy 


gran a r^ 


ele gy 


de i ty 


sal a vf 


pi e tj?- 


san i t^ 


f el 6 nf 


pen u ry 


en mi ty 


col 6 ny 


dep u ty 


dig ni ty 



eb 6 ny cen tu ry pol i cy 

Page 37 



(224) 

a e ri al im ag i na r^ 

ma te ri al pre lim i na ry 

me mo ri al vo cab u la ry 

col le gi ate im prob a bil i ty 

im me di ate in ca pa bil i ty 

in fu ri ate in hos pi tal i tf 

Jan u a rf in de struct i bil i tf 

Feb ru a rf im ma te ri al i ty 

mer ce na rf in di vid u al i ty 



V. SUGGESTIONS, AIDS, AND DEVICES 

When the Primer is Read on the First School Day 

Sometimes conditions exist that make it seem to the 
teacher best, or perhaps necessary, to have the pupils begin 
to read from the Primer itself on the first school day, instead 
of going through any preliminary blackboard work in read- 
ing. There are also teachers who really prefer always to 
"begin with the book." No teacher is compelled, of course, 
to give the preliminary blackboard work in reading as de- 
tailed in pages 27-43 of this Manual. Any teacher who 
prefers may follow instead the suggestions given below. 

A. Lessons in Reading 

Show the lesson picture. Discuss with the pupils what 
the children in the picture are doing and saying. 

By reading over the necessary part of the Primer Story 
(see pages 49-107 of this Manual), before the recitation 
period, the teacher will become thoroughly familiar with 
the thought and story of the lesson picture, and will thus 
be able to make the picture serve to secure natural expres- 
sion in the pupil's reading. 

Each new word of a lesson should be used by the teacher 
as she talks with the pupils about the Primer Children. 
When she utters the new word, she writes or prints it on 
the blackboard. If she writes it first, she must afterwards 
print it, unless she owns a set of the printed Word Cards 
and Phonic Drill Cards. After the words on the board have 
been drilled upon, the pupils should be asked to find each 
as many times as it is given on the Primer page. Then 

399 



400 THE HALIBURTON TEACHER'S MANUAL 

the pupils are ready to read the lesson. Each sentence should 
be read over silently by the class, and then one child should 
read it aloud in response to the teacher's question or direction. 
Thus, for the lesson on page 1, the teacher, having dis- 
cussed the lesson picture and told the necessary part of 
the Primer Story, asks such questions as the following, the 
pupil reading the answer from the book: 

Teacher: When they were ready to begin the race, what 

word did Frank call out? 
Pupil (reading from the book): Run. 
Teacher: Little Alice was behind; what did she call out? 
Pupil: Run, run. 

Teacher: Grace got to the tree first. What did she call out? 
Pupil: Now stop. 
Teacher: What did Frank call to Alice, who wouldn't stop 

and stand where she was? 
Pupil: Stop, stop. 

For lesson on page 2 : 

Teacher: Tell me to look at, or see someone in the picture. 

Pupil: See Frank. 

Teacher: Tell me to see someone else in the picture. 

Pupil: See Alice. 

Teacher: What do you wish me to see Alice do? 

Pupil: See Alice run. 

Teacher: What did Frank say to Alice? 

Pupil: Run, Alice, run. 

Teacher: Alice got tired; what did she say to Frank? 

Pupil: Stop, Frank, stop. 

For lesson on page 3, first group of sentences: 

Teacher: Tell me one person you see in the picture (p. 2). 

Pupil: I see Alice. 

Teacher: Tell me whom else you see in the picture. 



SUGGESTIONS, AIDS, AND DEVICES 401 

Pupil: I see Frank. 

Teacher: Ask me a question about Frank. 

Pupil: Do you see Frank? 

Teacher (pointing to Frank in the picture): Yes, I see 

Frank. Now ask me a question about Alice. 
Pupil: Do you see Alice? 
Teacher (pointing to Alice in the picture) : Yes, I see Alice. 

Second group of sentences: 

Teacher: What did Alice say when she was tired? 

Pupil: Now stop. 

Teacher: But Frank kept on running after Alice, so what 

else did she say to him? 
Pupil: Stop now, Frank. 
Teacher: Alice had to call out something to Frank twice. 

What was it? 
Pupil: Stop, stop. 

Third group of sentences: 

Teacher: After Alice had rested awhile, what did Frank 

say to her? 
Pupil: Now run. 

Teacher: He spoke to Alice again. What did he say? 
Pupil: Run, Alice. 

Teacher: What do you wish me to see Alice do? 
Pupil: See Alice run. 
Teacher: Tell me what you see Alice do. 
Pupil: I see Alice run. 
Teacher: Tell me what Frank said to Alice. 
Pupil: Run, Alice, run. 

The three lessons above are sufficient to suggest to the 
teacher how all these little lessons may be read from the 
Primer at the very outset. 



402 THE HALIBURTON TEACHER'S MANUAL 

B. Lessons in Phonics 

Conditions may make it desirable to omit from the 
foundation work in reading such activities in the school- 
room as running, jumping, marching, dancing, singing, 
etc. In that case, the teacher may develop the action words 
without having the actions themselves performed. 

It is necessary to have the pupils master action words 
as key words just as soon as possible, learning to know the 
form and give the sound of any key word's initial letter. 
The teacher may develop any action word in the Primer, 
and a few other words, by choosing the illustration which 
depicts that action, displaying the picture to the class and 
discussing it with them. Such key words and the pictures 
from which they may be developed are given below: 

Run, run, picture on page 1 Walk, walk, picture on page. . .22 

Get, get, picture on page 4 Dance, dance, picture on page. . 24 

Pitch, pitch, picture on page.. . 6 Sing, sing, picture on page 26 

Catch, catch, picture on page. . 8 Whistle, whistle, picture on page 28 

Bounce, bounce, picture on page 10 Show, show, picture on page ... 32 

Toss, toss, picture on page .... 12 Chick, chick, picture on page . . 35 

Kick, kick, picture on page 14 Look, look, picture on page. . . .40 

Hide, hide, picture on page 16 March, march, picture on page 45 

Find, find, picture on page .... 18 Quick, quick, picture on page . . 49 

Jump, jump, picture on page . . 20 Apples, apples, picture on page 52 

Oxen, oxen, picture on page 60 

The teacher may teach the remaining key words by using 
them in spoken sentences and then printing them on the 
blackboard one by one. These words are: eggs, now, violets, 
up, this, it, you, thank, knows, write, Max, Zee. 

The initial letters of these key words and their sounds 
should be taught as soon as possible. There should be at 
least three short drills and then a review drill each day 
on the key words, their initial letters, and the sounds of 
these letters. On pages 373 and 374 of the Manual is an 
arrangement of initial letters under the key words. This 



SUGGESTIONS, AIDS, AND DEVICES 403 

arrangement the teacher should print on the blackboard, 
if she does not possess a pack of the cards published for drill 
on the sounds of the initial letters of the key words, run, 
jump, sing, etc. (See bottom of pages 3, 5, 7, etc., of Primer.) 

The order in which these words and their initial letters 
are given in the Primer has nothing to do with the order in 
which they are to be taught. They are placed at the bottom 
of these pages for review. The initial letters and their 
sounds should be taught in the order that the teacher finds 
easiest to give. 

As soon as the children have mastered the sounds of the 
letters given below, they may be called upon to sound the 
words listed at the right of page 51 in the Primer, as a drill 
in phonics : c, m, b, th, r, p, f, s, h, a. This drill, and each 
of the others like it given in the Primer, should be preceded 
by the teacher's telling the story on which the phonic jingle 
is founded. For these stories, see Manual pages 357-368. 

Since this Manual gives, on pages 373-398, lists of all the 
words that may be required for phonic drills, and since 
these lists can be copied by the teacher on the blackboard 
for class drills, the school will not find it necessary to buy 
the Phonetic Chart (wall chart). The Chart and Drill 
Cards have been published to save time and labor to those 
teachers who wish to purchase them; but without them, 
teachers can use these Readers quite as successfully. 

The Treatment of Mother Goose or Nursery Rimes 

That "rimes and repetition" have a place in the teaching 
of reading no one will deny; but the thoughtful student of 
modern primers will agree with us that this useful feature 
of the work is being abused. 

Repetition of words is too often made the most promi- 
nent feature of the little reading lessons. In many of the 



404 THE HALIBURTON TEACHER'S MANUAL 

new primers we find page after page in which the same 
words are repeated over and over, until the words and the 
sentences become meaningless and irritating to the little 
reader, who can but tire of them as he reads such stuff as 
the following: 

"See mamma. See Kitty. Mamma see Kitty. Kitty, 
see mamma. See Kitty, mamma. My Kitty. See my 
Kitty. See my Kitty, mamma. See mamma. See 
mamma, Kitty. I have a Kitty. I have a Kitty, mamma. 
Mamma, I have a Kitty." (The foregoing is a quotation 
verbatim from a new primer.) 

Only slightly less tiresome and meaningless is the following : 

"Here are three chicks. 

"The chicks are little. 

"The chicks are yellow. 

"The chicks are pretty. 

"Baby loves the chicks. 

"Baby loves the pretty chicks. 

"The pretty chicks love Baby," etc. 

Even five or six pages of this kind of word repetition at 
the beginning of a child's first reading book gives him at 
the outset a wrong idea of what reading means. Such a 
repetition of words should be given in script or print only 
as "phrase drills" — phrases developed first in longer sen- 
tences that have been spoken and which are interesting and 
sensible. These sentences need not be written or printed in 
their entirety: only the phrase needed for drill from each 
sentence should be given in script or print. 

The first whole sentences read by the child should be 
such as he uses in his everyday talk, preferably those he 
uses when he is at play. 

Rimes from Mother Goose, or other nursery rimes, have 
a very important part in the teaching of reading and are 
valuable as reading matter when not given at the beginning 



SUGGESTIONS, AIDS, AND DEVICES 405 

of the child's first reading book, or otherwise too early. 
The little beginner should have read from his primer many- 
pages of straight, natural conversational sentences, or child- 
like dialogue, before he is called upon to read Mother Goose 
or other nursery rimes. 

While reading the natural, everyday language and child- 
like conversations from his primer, he should be learning 
the nursery rimes as exercises in language and literature. 
These rimes he will later read from the blackboard, and 
only then from his book. 

In every school some children will be found who have 
heard the rimes at home; they may perhaps have memo- 
rized them, in a haphazard, "hit or miss," fashion, and 
can recite them, probably in most undesirable sing-song 
tones. Others there will be who have never even heard of 
the rimes. The teacher should give these rimes in the way 
that will most benefit all the pupils. Some of the rimes 
should be taught as singing games, or counting games; others 
should be given as dramatizations. All should be memo- 
rized before they are read, and each should be preceded by 
a little story or talk by the teacher, in order to create the 
proper atmosphere for learning and reading the rime with 
full understanding and appreciation. Two that are good 
as counting games are the following: 

One, two, buckle my shoe; One, two, three, four, five, 

Three, four, shut the door; I caught a hare alive. 

Five, six, pick up sticks; Six, seven, eight, nine, ten. 

Seven, eight, lay them straight; I let her go again. 
Nine, ten, a good fat hen. 

After the pupils have memorized these rimes, the teacher 
should write on the board only the words one, two, three, 
four, five, six, seven, eight, nine, ten, for her purpose here is 
to teach the number words only. 



406 THE HALIBURTON TEACHER'S MANUAL 

Some of the best for singing games are the following: 

Hickory, dickory dock, Pease-pudding hot, 

The mouse ran up the clock. Pease-pudding cold, 
The clock struck one. Pease-pudding in the pot, 

The mouse ran down. Nine days old. 

Hickory, dickory dock. Some like it hot, 

Some like it cold, 
Some like it in the pot, 
Nine days old. 

The first of these two rimes may be played as follows: 

After the children have memorized the rime, they sit in 
groups of five on the floor. Four of them place one hand 
on the floor, so as to make a circle of fingers. The fifth 
child recites the rime, touching one finger in the circle as 
each word is spoken. The child whose finger is touched at 
the last word of the rime is the "mouse," and must jump up 
and run until one of the others catches him. 

This game should be kept for recess on rainy days. If 
the children know the rime as a song, the entire group 
engaged in playing may sing the words as the fingers are 
touched, instead of reciting them. 

The second of these two rimes is to be played in the follow- 
ing way after being memorized: 

The pupils in two rows sit facing each other, their feet 
in the aisle between the rows. Each child strikes (1) his 
knees with his hands, (2) his two hands together, (3) the 
hands of the pupil opposite, (4), (5), and (6) repeat (1), 
(2), and (3), (7) and (8) repeat (1) and (2), (9) right hand 
against right hand opposite, (10) repeat (2), (11) left hand 
against left hand opposite, (12) and (13) repeat (2) and (3). 
All try to keep perfect time, striking at the right time, as 
the right word is spoken; that is, at the words "hot," 
"cold," "pot," "old," etc. If the children know this as a 



SUGGESTIONS, AIDS, AND DEVICES 407 

song, they may sing the words instead of reciting them in 
concert, the entire class taking part in the singing. This is 
a game which may be put through by the whole class in a few 
seconds, making a desirable break in the routine. 

A game that may be presented by the teacher first as a 
puzzle is the one based on the following rime : 

Two little blackbirds Fly away, Jack! 

Sat upon a hill; Fly away, Jill! 

One was Jack, Come back, Jack! 

The other was Jill. Come back, Jill! 

When this is recited by the teacher as the puzzle, she 
sticks two little pieces of black paper on the nails of her 
index fingers, holding them so they can be seen by the chil- 
dren as she recites the first four lines of the rime. As she 
recites, "Fly away, Jack!" she throws one hand behind 
her head, and the other hand as she says, "Fly away, Jill!" 
As she says, "Come back, Jack!" she brings one hand back, 
showing not the index finger, but the second one. She does 
the same with the other hand as she says, "Come back, 
Jill!" The children will probably not notice that she shows 
other than the index finger, and will be puzzled until some 
bright or observant child "catches on." 

These three rimes are to be found in the latter part of 
the Primer. By the time the little reader comes to them, 
they will present no difficulty to him who has played them, 
memorized and read them from the blackboard. 

Many other rimes are especially good for dramatization, 
some of the best being the following: "Jack and Jill went 
up the hill"; "Jack, be nimble"; "Merry have we met"; 
"Little boy, where are you going?" "Little girl, where 
have you been?" "Little Boy Blue"; "Pussy Cat, where 
have you been?" "The Three Little Kittens." These 



408 THE HALIBURTON TEACHER'S MANUAL 

will be found on pages 115, 120, and 121 of the Primer; and 
on pages 15, 39, 45, 46, 50, and 51 of the First Reader. 

There is a right way, and there is a wrong way, to teach 
these rimes. The following steps give the right way: 

1. The teacher tells the story of the rime. This story 
may be reproduced by the pupils as an exercise in oral 
language work. 

2. The teacher recites the rime several times, carefully 
avoiding the sing-song tone in which these rimes are often 
repeated to the children at home. 

3. The pupils memorize the rime. 

4. The pupils play, or dramatize, the rime, a sufficient 
number of pupils being selected by the class to act the 
parts of the characters. The acting is, of course, an exercise . 
in pantomime, while the words of the rime are recited softly 
in concert by the other children. Sometimes the words of 
the rime are sung instead of recited; recitation is better 
than singing, however, for most of the rimes given above. 

5. The pupils dictate the rime line by line for the teacher 
to write on the board. As a new line is added the class 
read aloud all that is on the board. 

6. When it has all been written, the teacher gives a drill 
on the new words in the rime, asking: "Who will find 
the word boy? the word little? the word blue? the word 
horn?" etc. 

Then, as a little more difficult drill, she points to first one 
word and then another, asking, "What word is this?" etc. 

7. When a rime, taught according to this plan, is met 
with in the Primer or the First Reader, where the Primer 
Children are represented as playing the rime, the pupils will 
enjoy reading in print what they have weeks before read in 
script, and enjoy also the lesson connected with the rime, 
which tells about the book children playing the rime just 
as they themselves played it. The treatment given below 



SUGGESTIONS, AIDS, AND DEVICES 409 

of the rime, "Little Boy Blue," illustrates more fully the 
desirable steps in the teaching of rimes. 



The Rime of " Little Boy Blue " 

Preparatory discussion. — How many of you have ever 
been on a farm? What did you see growing in the fields? 
Did you see corn growing? Were you ever in a meadow? 
What do farmers raise in their meadows? What do they 
do with their grass and clover? What do we call the grass 
when it has been cut, dried, and put into big piles? What 
do we call these high stacks or piles of hay? (Hay-stacks.) 
Sometimes they are called hay-cocks. 

What animals do you find on a farm? (Horses, sheep, 
cows, pigs, etc.) Should you like to live on a farm? How 
many would like to visit a farm? I will tell you a story of 
a little boy who went to visit a farm. 

Presentation of the whole poem. — Once there was a little 
boy who was called Boy Blue. I think his mother must 
have given him a blue suit and a blue cap, and after that 
every one called him Boy Blue. One summer Boy Blue 
went to the country to visit his grandfather and grand- 
mother. Grandfather's sheep sometimes got into the 
meadow and ate the clover he wished to save for their 
winter food. Sometimes the cows got into the field and ate 
the corn before it was ripe enough to pull. So grandfather 
gave Boy Blue a horn with which grandmother used to call 
the people from the fields when their dinner was ready. 
Grandfather told Boy Blue to blow his horn whenever he 
saw the sheep in the meadow or the cows in the corn. He 
said he would then come at once and drive them out. One 
day grandmother saw the sheep in the meadow and the cows 
in the corn, so she called as loudly as she could: — 

[The teacher's rendering of these few lines must be ex- 



410 THE HALIBURTON TEACHER'S MANUAL 

tremely vivacious. The rate will be quick, the tone ani- 
mated and clear.] 

"Little Boy Blue, come blow your horn. 

The sheep's in the meadow, the cow's in the corn." 
But grandmother didn't see Boy Blue anywhere. Just 
then she saw grandfather and said to him : — 

"Where's the little boy that tends the sheep?" 
It was a very hot day, and Little Boy Blue had been sit- 
ting in the shade of the hay-cock watching the cows and 
sheep. He was very tired and had fallen fast asleep in the 
shade of the hay-cock. Grandfather had seen him, so he 
said to grandmother: — 

"He's under the hay-cock fast asleep." 
Then grandmother said : — 

"Go wake him, go wake him." 
Grandfather felt sorry for the tired little boy, so he re- 
plied : — 

"Oh! no, not I: 
For if I wake him, he'll certainly cry." 

Memorizing. — The lines should now be memorized by the 
children, not from any written or printed form but simply 
by repeating the words after the teacher. Most children 
can memorize two lines at a time. 

Dramatization. — One little boy may take the part of Boy 
Blue and a larger boy the part of grandfather. A girl may 
take the part of grandmother, and some of the other chil- 
dren may be the cows and sheep. Such dramatization will 
prevent children from reciting and reading Mother Goose 
rimes in the sing-song way all too prevalent among them. 

Other rimes that the teacher will find suitable for such 
work, but which are not included in the Primer or First 
Reader, are: "Little Miss Muffet, "Little Bo-Peep," "The 



SUGGESTIONS, AIDS, AND DEVICES 411 

Cat and the Fiddle," "The King in his Counting-House," 
"The Old Woman in a Shoe," "Simple Simon." 
Some suggestions for teaching these rimes follow. 



The Rime of "Little Miss Muffet" 

The steps to be taken are the same as in the rime pre- 
viously described. The teacher should preface the reading 
of the rime with a little talk about a little girl, Miss Muffet; 
about her stool or seat, which she called a tuffet, about her 
evening meal of curds and whey, and what is meant by curds 
and whey. The teacher promises that as soon as the rime 
is memorized the pupils may act it. She asks: 

How many children are needed, to play, or act, this 
story? If you don't know, try to think how many children 
must do something in the play. (Two: Miss Muffet and 
the great spider.) Yes. Shall we have all girls or all boys 
act? (A girl for Miss Muffet, and a boy to act the spider.) 
That is a very good arrangement. What must Miss Muffet 
have? (A seat or tuffet to sit on, a bowl and spoon with 
which to eat her curds and whey.) Yes. What must the 
boy have? (The teacher may have to suggest a knot on 
the end of a string to hold something that represents the 
spider.) Where shall the boy, who holds the spider, stand? 
(Behind Miss Muffet.) What does he do? When should 
the spider reach the seat beside Miss Muffet? (Teacher 
gives directions for letting it reach the seat just as the chil- 
dren, who are reciting in concert, say the words "beside 
her." The boy himself may be the spider; if so, he will 
come creeping along on all fours and will sit down beside 
Miss Muffet.) 

The teacher allows the children to plan all this. Then 
she asks, "Then what does Miss Muffet do?" 

As indicated for the rimes above, the children should 



412 THE HALIBURTON TEACHER'S MANUAL 

recite the rime in chorus while the actors go through with 
their parts. But if they know the rime as a song, it is well 
to let them sing it for a repetition of the pantomime. 

The Rime of "Little Bo-Peep" 

This calls for only one actor (a little girl) unless some of 
the pupils take the part of sheep, grazing in the far distance. 

As the children recite the first stanza, Bo-Peep walks 
about, looking busily for her sheep. During the second 
stanza Bo-Peep lies down and falls fast asleep, then wakes 
up, rubs her eyes, listens intently, looking around for her 
sheep. As the children recite the third stanza, Bo-Peep 
gets up, takes up her crook, and walks away. She puts her 
hands to her eyes and weeps, or raises both hands in horror, 
letting fall her crook, as she acts the part of seeing her sheep. 

Before teaching this rime, the teacher may give a little 
talk on sheep, their need of careful watching and the reasons 
for this, the meaning of shepherd and shepherdess, the use 
and appearance of the shepherd's crook. 

Instead of the traditional words "Determined for," the 
children should be taught, "And away she went." 

The Rime of " The Cat and the Fiddle" 

This calls for five actors : the cat, the cow, the little dog, 
the dish, and the spoon. The children must be allowed to 
direct their own dramatization in all these rimes; they must 
use their own judgment in selecting objects for the "make 
believe" fiddle and moon. This rime always delights the 
children. 

The Rime of " The King and His Counting-House" 

This rime requires four actors, or people: the king, the 
queen, the maid, and the blackbird; four scenes, or places: 



SUGGESTIONS, AIDS, AND DEVICES 413 

the counting-house (which the teacher explains), parlor, 
and garden. It requires the following make-believe articles: 
counter, money, bowl of honey, bread, knife, clothes, and 
the clothes-line. 

The Rime of " The Old Woman in a Shoe" 

This rime requires several actors, and will most likely 
provoke uproarious enjoyment among the reciting or sing- 
ing audience. 

The Rime of ''Simple Simon" 

The six stanzas make this rime too long for reading, but 
may well be memorized. During the acting, Simon speaks 
twice: "Let me taste your ware," and, "Indeed I haven't 
any." The pie man also speaks: "Show me first your 
penny." Some fun-loving, waggish boy will delight in im- 
personating Simple Simon. 

Seat Work 
A. Essentials 

Seat work should grow naturally out of the lessons. Any 
other form of seat work is merely busy work and has no 
place in the schoolroom. Seat work is as much a part of 
regular school work as is recitation, and for it the children 
should be held as strictly to account. The training in inde- 
pendence that the child receives in doing this work is of 
great value; for unaided he works out problems according 
to the teacher's directions. The child must understand that 
this part of his work will receive from the teacher the same 
attention that his recitation does. 

In planning the seat work the teacher should keep in 
mind the following essentials: 

(1) The seat work must be related to the class work. It 



414 THE HALIBURTON TEACHER'S MANUAL 

must be either the outgrowth of a lesson, or the preparation 
for a lesson; in either case its purpose is to strengthen the 
lesson itself. 

(2) It should not engender bad habits, such as wasting 
time or doing careless work. 

(3) It should be simple enough to be accomplished by 
the pupil unaided, but, at the same time, it should be a task 
calling for effort on his part. 

(4) It should have the teacher's criticism. If the seat 
work is not corrected by the teacher, the child will soon feel 
that the work has no material value and will cease to give 
it his best — or any — effort. It is well to train the more 
dependable pupils to help with this correction. 

(5) It should not be purely mechanical but should neces- 
sitate thought; in fact, it should train the child to study. 

(6) It should train the eye and the hand. 

(7) The child must realize the need for it. 

(8) It must have interest for the child. Through such 
interest, and a careful planning of the seat work, the young 
and inexperienced teacher may often obviate troublesome 
problems in discipline. 

(9) Seat work should be clearly and definitely assigned, 
the teacher using simple language. She should not repeat 
her directions nor should she permit one pupil to ask another 
what it was she said in her assignment; this requirement 
is a part of the training in attention and in self-reliance. 

Children should not be given any writing to do in the 
seat work of the first two grades, and but little, if any, in 
the Third Grade. In the writing period the closest atten- 
tion is paid to position and movement, the good results of 
which will be nullified if the children, given seat work 
assignments which require writing, were to form bad habits 
which the teacher cannot break up at the writing period. 

Where paper cutting is given for seat work, oftentimes 



SUGGESTIONS, AIDS, AND DEVICES 415 

little children in the First Grade seem helpless at first with 
their scissors. They seem unable to make the hand obey 
the brain. It is suggested that the first seat work lessons 
with scissors might consist simply of cutting paper on ruled 
lines, to train for accuracy. The teacher will find it to her 
advantage to collect flower and fruit catalogues, fashion 
books, etc., and have the children cut out the pictures from 
those for early training in the use of the scissors. Then, for 
later work, when the children will have been trained to 
hold in mind the mental form image, and when their hands 
will obey their brains, they can cut, freehand, large fruits, 
such as apples, pears, and such vegetables as potatoes. 

After the first few lessons, it is better for the teacher not 
to cut with the children. The best results are secured by 
encouraging freehand cutting. 

Profitable seat work as an expression of the reading lessons 
often takes the form of some cutting or a drawing which 
illustrates the story just read. The child will surely catch 
the spirit of the reading lesson on page 118 of the First 
Reader, entitled "Springtime Fun," if he is told to cut out 
or draw a boy flying a kite. Certain parts of a story may be 
clearly kept in mind by means of this form of expression. 
Take, for example, the story on page 59 of the First Reader, 
entitled, "The Pig with a Curly Tail." The seat work 
assignment may be: Cut out the pig, the rabbit, the duck, 
and the rooster. 

There are certain materials required for seat work by both 
teacher and pupils. 

For Teacher: Hektograph; Price and Sign Marker (for 
printing). These two articles may be procured from A. 
Flanagan & Co., Chicago, the prices varying according to 
the size of the article. The Teacher's Catalogue from the 
above-mentioned firm will furnish the required information. 

Teachers will get many helpful suggestions for material 



416 THE HALIBURTON TEACHER'S MANUAL 

from catalogues sent out from any educational publishing 
house. For the convenience of the teacher a few are named 
here: Edward E. Babb and Co., Boston; J. L. Hammett 
and Co., Boston; Milton Bradley Co., Boston and Atlanta. 
For Pupil: One pair of scissors. (A. Flanagan and Co., 
Chicago, quote scissors as cheap as 75 £ per doz.) Printer's 
unsized paper. This can be procured in small quantities 
at comparatively small cost from local newspaper offices. 
One box of crayons. Letter Cards. These can be procured 
in sheets 9x11 inches, printed on both sides, with a good 
assortment of capitals and small letters. These are to be 
cut up and used in building words. The price is 15^ per 
doz. sheets. They can be had from Edward E. Babb and 
Co., Boston. Colored pegs, a cheap and very useful kind 
of seat work material, can be ordered from Milton Bradley 
Co., from Boston or Atlanta. The price is 15^ for one box 
containing 1000 pegs, which will supply at least 25 children. 
Lentils in assorted colors may be ordered from Edward E. 
Babb and Co., Boston. The price is 30^ for a package 
containing 1000 of the quarter-inch lentils. 

B. Suggested Seat Work for the First Year 

Seat work during the preliminary blackboard lessons 
(see pages 27-48) may be simply having the children cut 
circles from white paper; then color them the primary colors. 
Only those which show good form should be accepted. 

After the children are able to cut acceptable circles they 
can cut other objects that are round; for instance, a sugar 
bowl, by adding the handles; a rabbit, by cutting a large 
circle for the body and a smaller one for the head, then two 
long ears; a cat can be similarly made, with a long tail. 

From the apple shape may be developed the pear by 
curving it in at the top, and out at the bottom. Later, the 
lemon, egg, and other forms may be developed similarly. 



SUGGESTIONS, AIDS, AND DEVICES 417 

When the name words or object words are being taught, 
the teacher will have opportunity to introduce some very 
interesting seat work which will help vitally to strengthen 
the work in reading. The teacher may make patterns of 
the objects; for instance, a ball, a drum, a doll, a bell, a 
bird, a nest, a hen, a chick, a duck, a kitty, a dog, a rabbit, 
a cow, a pig, eggs, apples, violets, etc. The children can 
trace around these patterns and cut out the objects. Such 
pattern work is not advocated except in the beginning, 
where it will incidentally give practice in handling scissors 
and will lay the foundation for freehand cutting, as well 
as aid in the work of word mastery by connecting the name 
of the object with the cutting which represents it. 

Outline drawings of some of the objects about which the 
children read during the preliminary blackboard work, and 
again in the Primer, can be taken from the bold line-drawings 
which illustrate the Primer. These outlined figures may be 
utilized for two kinds of seat work and used at different 
stages of the first year's work. During the period of pre- 
liminary blackboard reading, the outlined forms should be 
used for seat work in tracing and cutting as described above. 
From outlines of these objects drawn on the blackboard by 
the teacher, the children can reproduce the forms on the 
desks with colored pegs, lentils, seeds, or grains of corn. 
Later in the year these same figures are used for that form 
of seat work known as matching words. 

Seat Work Cards are sheets of words that are to be cut 
apart into small cards, each card showing a word, some of 
these words being the names of the following objects : chicks, 
bird, nest, drum, ball, rabbit, apples, hen, violets, pig, rope, 
duck, doll, cow, kitty, horse, dog, bell. 

In a strong envelope, one of which is provided for each 
child, the teacher places one of each of the pictured cards 
described, bearing also the name of the object represented; 



418 THE HALIBURTON TEACHER'S MANUAL 

the teacher places the cut up Seat Work Cards, a certain 
number of each name word, or object word, in the envelope, 
mixed together with the outline pictures. Then the child 
places three or four of the pictures in a row on his desk. 
Under each picture he places as many Seat Work Cards 
bearing the name of the object as he finds in his envelope. 

The teacher may easily hektograph a supply of Seat 
Work Cards, and even the outline drawings of the objects 
named. She may also hektograph a number of the other 
important words that are most frequently used in the earlier 
pages of the Primer, to be cut apart and placed in strong 
envelopes for seat work in sentence building. 

In sentence building the teacher writes one or more short 
sentences on the board. With the Seat Work Cards the 
child builds the same sentences on his desk. Later on, the 
teacher may even write an entire short story to be thus 
reproduced by the child with the Seat Work Cards. 

We have said that the seat work should grow out of, or 
supplement, if it does not prepare for, the class work. For 
instance, suppose the phonogram that is being taught dur- 
ing the preliminary blackboard work in reading is wh. 
The teacher may have the children sketch little candles. 
The children may imagine that the candles are to light a 
birthday cake or a Christmas tree. The point is that the 
sound made in blowing out the candle is the sound of the 
phonogram, wh, which is then being taught. The forms of 
the letters wh may be traced by the teacher on the child's 
desk with chalk, which can be easily erased with a damp 
cloth. Over the teacher's writing the child can make the 
forms of the letters with colored lentils or pegs, or even 
with grains of corn or split pease. Such work helps to fix 
the form, and the child thus connects with that form the 
sound of the letters. Any other letter or letters may be 
treated in this way. 



SUGGESTIONS, AIDS, AND DEVICES 



419 



For another example we will suppose the teacher has 
just taught the Phonic Jingle on page 51 of the Primer, 
which teaches the at family. The seat work may be as 
follows : Hektograph for each child a card like the diagram 
below: 





at 




at 




at 




at 




at 



With alphabet or letter cards — which are really indis- 
pensable for the beginner — the child can form words by 
filling in the blank spaces with letters, thus: b at, c at, 
/ at, h at, m at. The child may happen to make such com- 
binations as lat, jat, wat, etc. He should be shown at once 
that there are really no such words as these. Both teacher 
and pupil will appreciate, by such an instance as this, that 
seat work, even when very simple, is not purely mechanical 
work, but that it requires the child to think, in order that 
his work may be accepted. 

As soon as the pupil has learned sight words enough, 
he may be given pages of simple reading matter collected 
by the teacher for this purpose, — pages from discarded 
primers, or, better still, the children's Sunday school papers 
which they may be asked to save and bring to school. 
With crayon or pencil the child can draw a ring around 
the words he knows on these pages. This may take the 
form of play, as, for instance, a contest to see who remem- 
bers the most words. 



420 THE HALIBURTON TEACHER'S MANUAL 

Interspersed throughout the Detailed Lesson Plans in 
Reading from the Primer and First Reader (pages 48-179) 
will be found suggestions for seat work in cutting, drawing, 
molding, etc., — work that, in each instance, is closely 
related to the special lesson for which it is given. 

We append below a number of suggestions for seat work 
in phonics, related to the Primer and First Reader. 

As a way to utilize the phonic review as seat work, the 
aim of which is to provide drill in recognizing phonic 
combinations and also to recall words containing these 
known phonograms, the teacher may make a drawing of a 
bat-, a hen, a ball, and a bed. In preparation for the work 
the children are to do, the teacher may talk to her class 
about words containing the phonograms at, en, all, and ed. 
Beneath each drawing she writes the name of the object. 
These simple outline pictures may be hektographed and 
placed in an envelope, so that each child may have all four 
of the drawings, as suggested for the work in matching words. 

On another sheet of drawing paper the teacher may 
hektograph words containing the above-mentioned word 
families, at, en, all, and ed, thus: 



bat 


hen 


ball 


bed 


rat 


den 


call 


red 


cat 


pen 


fall 


fed 


fat 


ten 


hall 


led 


hat 


men 


wall 


wed 


sat 


fen 


tall 


Ned 



Each child is to have one of these sheets. The child is to 
cut the sheets into as many parts as there are words. He 
places these words in an envelope. He arranges his pictures 
in a row on his desk. Then he assorts the words from his 
envelope for the purpose of arranging under each picture a 
column of words containing a phonogram suggested by the 



SUGGESTIONS, AIDS, AND DEVICES 421 

name of the picture; for instance, the name hen show the 
phonogram en; under the picture of the hen, he places 
the words den, ten, etc., and so on for the others. 

A diagram for seat work drill on the phonogram un may 
be made as follows: The teacher may draw a picture of 
the sun on the board; then write the phonogram un on the 
face of the sun. At the end of each ray extending from the 
sun, write some letter or combination of letters that will 
form words ending in un. The children might suggest these 
phonograms for the rays. Then the children can make those 
words on their desks with their letter cards. 

The teacher may draw a circle on the blackboard in the 
center of which she draws a saw. This is to strengthen the 
work of the lesson period in teaching the phonogram aw. 
At intervals on the circumference of the circle, are placed 
letters or combinations of letters suggested by the children, 
which will make other words containing the phonogram 
aw. Afterwards the teacher may give the child a box of 
printed letters to build these words on his desk. 

C. Some Suggestions for Seat Work for the Second Reader 

The Second Reader is rich in suggestions for seat work. 
The lessons are filled with interest, and the book suggests 
wonderful varieties of ways for correlation with hand work. 

The plan of the book follows the activities of school life 
as well as the successive seasons and holidays. This gives 
the teacher opportunity to enter into the play and interests 
of childlife, and thus establish a very happy relationship 
with her pupils. These lessons were intended to be read at 
the time they are seasonable. This can be done by looking 
ahead and planning a little on the part of the teacher. The 
lessons can be read at the time there is a special interest in 
their content either as a new lesson or as review work. 

The pupils will need ordinary drawing paper, a pair of 



422 THE HALIBURTON TEACHER'S MANUAL 

scissors, and a box of crayons for this work. Black sil- 
houette paper, which can be ordered from Milton Bradley 
Co., Atlanta, Ga., can be used to advantage in paper cutting. 

Suggestions for Pages 5-12 

Indian life is the center of interest in these pages; the 
following assignments in hand work grow out of the read- 
ing matter. It is to be remembered that these are only sug- 
gestions, for, after all, the best thing is for each teacher 
herself to work out her problems. 

1. Construct and color wigwam. 

2. Construct canoe. 

3. Cut out bows and arrows. 

4. Draw a quiver and decorate it as Indians do. 

5. Cut out an Indian, showing characteristics. 

6. Cut out an Indian cradle and decorate it Indian fashion. 

7. Draw Indian scenes. 

At the Literature or Language period the teacher may 
read the story of Hiawatha to the children. 

Pages 3Jy-J^0 

The center of interest here is the Halloween idea, in which 
Jack-o'-lanterns, witches, bats, black cats, etc., furnish ma- 
terial for seat work. 

Pages 1^2-1^8 

These pages already present many suggestions for Thanks- 
giving work. The children can draw other pictures than 
those in the text that will illustrate the Thanksgiving story. 
The entire story can be told in paper cuttings. Such mat- 
ters as perspective, good proportions, etc., may be developed 
in arranging paper cuttings on a poster. Page 48 is full 
of suggestions for drawing and coloring fruits, etc., for the 
harvest season. 



SUGGESTIONS, AIDS, AND DEVICES 423 

Pages 4,9-55 

These four pictures really tell the story of "The Fox Who 
Traveled." They are full of action and, after the pupil has 
grasped the idea of the story, suggest to him how he can 
tell the story with his scissors. 

Pages 68-69 

Have the children draw a Christmas tree with colored cray- 
ons, toys that little children like hanging from its branches. 

Pages 70-73 
Have the children draw pine cones with colored crayons. 

Pages 95-100 

1. Draw the igloo. 2. Construct sled. 3. Cut out Eskimo 
dogs. 

4. Draw the Northern Lights, using all the colors of the 
rainbow. If the teacher is fortunate enough to have a 
sand-table, scenery in the Far North can be suggested on the 
sand-table by the use of cotton. A small expenditure for 
artificial snow heightens the effect. 

Pages 102-105 

The Valentine lessons afford the opportunity for working 
out many original and unique designs. The opportunity 
should be given the children to work out their own ideas. 

Page Ilk 
Construct the windmill. 



424 THE HALIBURTON TEACHER'S MANUAL 

D. Additional Suggestions for Seat Work 

Material: Sentences 

The teacher duplicates with a hektograph the sentences 
on any page of the Primer that has been read, using each 
sentence several times. She then gives these sheets to the 
children, who are to cut the sentences apart so that each 
sentence stands on a separate slip of paper. The children 
may then use these sentence slips in various ways, such as 
the following: 

1. Place all the sentences that are alike in one pile. 

2. Put all the sentences the child can read into one 
pile; if there are any he cannot read, he should put these 
into another pile. 

3. Teacher writes a little story on the board using only 
the sentences which the pupils have cut apart into strips. 
The children at their seats reproduce the story by finding 
the right sentence slips and placing them in the proper 
sequence to reproduce the story on the board. 

Material: Words 

The teacher may mimeograph for each child several lists 
of all the words that have been given to the class. These 
lists are to be cut apart into separate words which may then 
be used in such ways as the following: 

1. Separate the known words from the unknown. 

2. Put into separate piles all the words that are alike. 

3. Build sentences that reproduce those written on the 
blackboard by the teacher. 

4. Build original sentences, or sentences the pupil may 
remember from other reading. 

5. Make lists of words, copying the order in the vocabu- 
lary at the back of Primer or First Reader. The number of 
such lists to be copied will increase every day. As soon as 



SUGGESTIONS, AIDS, AND DEVICES 425 

the class has learned a considerable number of words, 
separate pages from old primers and first readers, or other 
books, may be given them, with instructions to mark lightly 
in pencil all the words they know. When a Mother Goose 
rime has been read, duplicates of the rime should be made 
by hektograph, and cut apart into the separate words. 
With these the pupils at their seats reproduce the rime 
which the teacher has written on the board meanwhile. 

With hektographed words the children may copy the 
arrangement of words at bottom of pages in Primer, placing 
the initial letter after or beneath each word, as shown on 
pages 3, 5, etc., of Primer; thus: Run R run r; or thus: 
Run run 

R r 

Material: Letters 

The small letter cards kept in boxes or stout envelopes 
may be used in various ways : 

1. Find and put into piles all the letters that are alike. 

2. Build or reproduce lists of words written by the 
teacher on the board. 

3. Find all words in the lesson that contain three letters 
and reproduce them with letter cards. Next, let the words 
of four letters be treated in the same way. 

4. The teacher may write on the blackboard certain 
letters of the alphabet in a row. The children find the 
letter cards corresponding and place them in separate piles. 

5. The new words of the lesson may be written on the 
board for the pupils to reproduce on their desks with the 
letter cards. 

6. As soon as the pupils have mastered the forms and 
sounds of the letters they may group under each letter all 
the words in the lesson which begin with that letter. 

7. Several words that have been learned by the class are 
written on the board by the teacher. The pupils, having 



426 THE HALIBURTON TEACHER'S MANUAL 

learned the alphabet in its regular order by this time, copy 
these words with their letter cards and then arrange the 
words alphabetically. 

8. While learning the sounds of the different letters, the 
pupils may put into one pile all the letters whose sounds 
they can give, and all the others into a separate pile. 

9. With Primers open before them, pupils copy the pho- 
netic words listed at the right of the pages containing the 
phonic jingles; and copy the phonetic words listed at bot- 
tom of pages containing Mother Goose rimes. 

Suggestions for Drills 

Drills should be short, varied, brisk, spirited, and full of 
interest for the pupils. Wherever the idea of a game can be 
introduced into the drill work, it should be done. 

Drills are not only helpful, but absolutely essential in 
gaining the ability to read rapidly and accurately. 

There should be drills on groups of words as well as upon 
single words, and these groups of words should be recog- 
nized at sight just as readily as single words are recognized. 

There should also be drills on single letters and their 
sounds, and on combinations of letters and the sounds 
these combinations represent. 

Lists of words for drill should be prepared on the thought 

basis whenever it is possible. For instance, the following 

words from the Primer should be given in pairs for drill, 

one pupil being required to give both words of each pair: 

yes big day white 

no little night black 

over up hot in 

under down cold out 

come now see mine 

go then hear yours 



SUGGESTIONS, AIDS, AND DEVICES 427 

I father his ours 

you mother hers yours 

Such word groups or idioms as I see, I saw, I have, This is, 
He has, and She has, are best taught in connection with the 
nouns, or name words, that are already known to the pupils. 
As the number of sight words from the Primer lessons 
increases, they should be kept in lists on the blackboard 
arranged in columns according to the initial consonants, as: 
ball can do find 

bounce catch did father 

boy come dance 

baby does 

The names of objects should be taught by showing first 
the objects and then the names of the objects. Most teachers 
can provide the few cheap toys that may be needed. If, 
however, these should be beyond her means and the children 
cannot bring them, the objects may be drawn on cardboard, 
colored, and then cut out. 

The following list includes the names of most of the 
objects referred to in the Primer: 



a ball 


a flower 


a nest 


a pig 


a drum 


an egg 


an owl 


a sheep 


a doll 


an apple 


a bat 


a lamb 


a rope 


a kitty 


a rat 


a hen 


a bell 


a dog 


a mouse 


a duck 


a clock 


a cat 


a frog 


some chicks 


a pail 


a rabbit 


a horse 


some oxen 


a candlestick 


a bird 


a cow 





When a sufficient number of these name words have been 
taught in connection with the objects or their representa- 
tions, a game may be played not only to drill the words but 
also to teach idioms such as those mentioned above. The 
game may be called "The Peep Show," played as follows: 



428 THE HALIBURTON TEACHER'S MANUAL 

A number of objects whose names are known are placed 
in a chair over the back of which a cloth is hung to hide the 
objects from the class. 

A pupil peeps behind the cloth and whispers to the teacher, 
"I see a drum." This the teacher writes on the blackboard, 
while the child stands looking at the drum. The first mem- 
ber of the class to recognize the sentence raises his hand to 
show that he knows it, reads it aloud, and is then allowed to 
take his turn at peeping and whispering to the teacher. 

The idiom I saw is taught similarly: the pupil peeps, 
whispers to the teacher, and then turns away so that he is 
evidently no longer looking at the object. 

The idiom / have is taught as follows: the pupil holds 
one of the objects out of sight of the class, while the teacher 
writes; then the child says as he shows the object, "I have 
a ball." The idiom This is is taught in the same way. 

The idioms He has and She has are taught in much the 
same way. One pupil holds an object, hiding it from the 
class. The teacher writes, "He has a ball," or "She has a 
kitty," and the pupils of the class read or "tell" what the 
pupil has. As soon as the sentence is read correctly, the 
pupil holding the object holds it up to view. 

The word groups or phrases of the Primer and First Reader 
should be given in review drills and should be recognized 
instantly by the children just as single words are recognized. 
Such drills are great aids to rapid, accurate, and smooth 
reading, and will effectively overcome any tendency to call 
one word at a time, or to give as much emphasis to the 
articles, the, a, an, as to their nouns. 

The word groups in the list following are found in the 
Primer. As soon as one of these word groups has been 
taught in a reading lesson, the teacher should add it to the 
list of phrases, or word groups, which she will give later in 
her review drills: 



SUGGESTIONS, AIDS, AND DEVICES 429 

to you, to me, to her, to him, to them, to it, to us; Did 
you, Did she, Did he, Did I, Did they; Do you, Do they, 
Do I, Do we; Does he, Does she, Does it. 

to pitch it, to catch it, to toss it, to bounce it, to kick it, 
to get it, to hide it, to find it; to play, to hide, to run, to 
walk; with a ball, with a rope, with a hat, with a drum, 
with a doll. 

Will you, Will he, Will she, Will they; I am, She is, He 
is, It is, They are, We are, You are; Is it, Is he, Is she; for 
her, for him, for me, for it, for us, for them. 

I like to, We like to, They like to; Here is, Where is, 
What is, How is; Here are, There are, Where are, What are. 

like a bird, like a cat, like a rat, like a mouse; in the tree, 
in the barn, in the pen, in the house, in the nest, in the 
water, in the pond, in the brook, in the ground, in the hole, 
in the flower, in the meadow, in the woods, in the town; 
on the tree, on the apple, on the hay, on the ground, on the 
flower, on the clover. 

at home, at the barn, at the brook, at the pond. 

to the woods, to the pond, to the meadow, to the orchard. 

through the window, through the woods; into the water, 
into the flowers; upon a hill; under the water, under the 
swing, under the ground, under my hat; out of the brook, 
out of the water, out of the flowers; over your head, over 
the clover, over the hill, over the candlestick. 

The word groups and phrases in the lists following will 
be found in the First Reader on the pages indicated by the 
figures in parentheses: 

(1) Their little sister, the little girls, is with them, came 
here to play; 

(2) by the wall, in the oak tree, like a little swing, about 
the bird swing; 

(3) about the red, red rose; 



430 THE HALIBURTON TEACHER'S MANUAL 

(5) the children's home, in the old home, three years old; 

(6) on the big bough, up on the old oak, just like a swing, 
in their swing, in the tree top, the dear baby birds, down to 
the ground; 

(7) in the old oak tree, a dear little nest, safe and high, 
blue as blue can be, like the sky, in that little nest, rocks 
the bough, where they safely rest; 

(8) two happy little birds, up on the tree, high up on the 
tree; (10) in the rose vine, in the pretty rose vine, by and by, 
where the nest hung, to the tall tree, for the birdies, a home 
for the birdies, looking for them, a cunning nest, the baby 
larks; (11) up in the sky, up in the air, up in the air so high, 
in a nest so round, go to sleep, down in the grass, down in 
the grass so deep; 

(12) in the spring time, through the air, through the sweet 
air, through the orchard, in the clover, with the lambs, on 
the lamb's neck; 

(13) the happy children, once again, all for you; 

(14) the meadow grass; 

(15) to see father mow, it is fun, swinging in the orchard, 
if I may, to help them; 

(16) a beautiful summer night, sweet with clover blooms, 
shine in the sky, in the deep grass, down at the larks, at 
the sleeping lambs, about the larks, the beautiful bright 
stars; 

(19) one day, a pretty little mouse, such a pretty little 
mouse, come out again, in the fields, to the rats and mice, 
here in the fields, live in the house, lives in the woods, in 
the top of a tree; 

(20) lived in a town, went to see, such fine fun, something 
to eat, all you have, year after year; 

(21) glad to go home, with his cousin, went to town, to 
a fine house, came safely, the things I eat, into the house* 
in the fields again; 



SUGGESTIONS, AIDS, AND DEVICES 431 

(22) at once, fell to eating, into the room, with a growl, 
with a broom; 

(23) stole back again, safe in the hole, where corn and 
wheat grow, to be sure; 

(24) a wee happy lamb, to the other side of the hill, to 
see my granny; 

(25) till he goes, to your granny's house, with a howl; 

(26) with a roar; (27) at last; 

(28) to eat grass and grow fat, you should have seen, as 
fat as you can be, just such fat lambs, in a sheep skin drum; 

(29) rolling along, into the fire, could not see, and so will 
you, as fast as he could go; 

(30) as sure as I'm a fox, an old sheep skin; 

(31) rolling safely along, safe at home; 

(33) in the stable, in the hayloft, up the ladder, have had 
a ride; (34) in the garden, red and white flowers, red roses 
and rosebuds, bright yellow daffodils, gathering roses; 

(35) tell me true, I pray you, as sweet as a red, red, rose, 
a little girl like you, that's what she must do. 

This is sufficient to indicate the kind of word groups the 
teacher should select for her review drills. If persisted in, 
these exercises will produce surprising results. 

The reading of flash sentences partakes of the nature of 
drill on word groups. 

In the early part of the term the teacher should prepare 
a number of sentences for this flash reading. Manila paper 
may be cut into strips, each strip long enough and wide 
enough to hold a sentence written in large clear script with 
packer's crayon, or with rubber pen and ink. Action sen- 
tences and sentences, or "stories," to be "made true" make 
good material for flash reading. The strip of paper is held 
up to view for only an instant, then lowered and one called 
upon to put the sentence into action, or to read it. 

Instead of strips of manila paper, some teachers prefer 



432 THE HALIBURTON TEACHER'S MANUAL 

to use an ordinary window shade on a spring roller, fastened 
to the top of the blackboard, which conceals the sentences 
previously written on the board by the teacher. As the 
shade is rolled up, the first sentence at the bottom comes 
into view, is exposed for a moment, and then quickly erased. 
The pupils watch intently for the sentence, take it in at a 
glance, and either put it into action or read it aloud. Words 
and phrases as well as flash sentences can be so drilled upon. 

The teacher should hold daily drill also on the words and 
short sentences that she teaches incidentally. For a while 
she should write on the board such words, requests, or com- 
mands as the following, every time she speaks them: 

Thanh you. Let us sing. Put your books in the desks. 
Rise, Turn. Face. March. Good-morning. Good-by. 

After a time she leaves these words and sentences on cer- 
tain parts of the blackboard. Then, whenever she speaks 
them, she merely runs the pointer under them. 

The name of every song to be sung should be written on 
the board as the teacher speaks it. The title of the story 
to be read should be treated in the same way. The names 
of the days of the week and of the months and the names 
of the children should be taught as part of this incidental 
reading. The teacher says, writing as she speaks: 

"To-day is Monday. To-day is Friday. To-morrow will 
be Saturday. This is September." 

The teacher writes, "Get the ball, George," and speaks 
the name "George" as she writes it. After a time she 
points to the name without speaking it. A stout card should 
be given to each pupil with his first name written upon it 
in large clear script. This card is to be kept on his desk 
where he can see it. When the first name has become per- 
fectly familiar as a written word, another card bearing both 
the given and family names replaces the first card. 

The use of capital letters and of the period and question 



SUGGESTIONS, AIDS, AND DEVICES 433 

mark may be taught incidentally and drilled upon during 
the early lessons in reading from the blackboard. 

On beginning to write a sentence, the teacher says, "I 
must begin this word with a capital letter, a big letter, be- 
cause this is the first word in the sentence." If she is about 
to write the name of a person in the sentence, she says, "I 
must begin this word with a capital because it is someone's 
name." When finishing a sentence, she makes a period, 
saying, "I must place a period here, because this is the end 
of a sentence that tells us something." When ending a 
written question, she makes a question mark, saying, "I 
must put a question mark here, for this is the end of a sen- 
tence that asks a question." 

Later in the year, or in the second year, she may write 
some such sentence as, Frank said, "Let me help you, Father." 
The teacher says, "I must put these talking marks before 
the first word Frank said, and also after the last word he 
said." And as she says this, she makes the quotation marks, 
which mean nothing to children when called "quotation 
marks," but are full of meaning as "talking marks." 

Doing such things as these repeatedly is a most valuable 
and effective drill. Drill upon separate words or upon letters 
may be given in many different ways and by many devices. 
The teacher should learn to give drills in many ways. It 
is well, however, to "hold to one type of drill until the class 
has learned how to work rapidly." 

At least two periods of drill, each five to seven minutes 
long, should be given every day. This is long enough for 
a period of drill upon sight words, that is, words known as 
wholes and at sight. Longer periods should be given for 
drill on words that must be sounded. 

The Word Cards or Phonic Drill Cards, showing in print 
the words of the Primer, should be used every day. They 
should be used in teaching the new words of the lesson, but 



434 THE HALIBURTON TEACHER'S MANUAL 

their principal use is in word drills and in testing the pupils' 
ability to recognize quickly the words that have already 
been taught. At first this drill work should be somewhat 
slow, so that each child may have a part in the word recogni- 
tion, but by degrees the work should move more rapidly. At 
first only two or three cards are used, of course, but others 
are added to the pack as new words are developed with each 
new reading lesson. For class drill the cards may be used 
in either of the two ways following: 

(1) The teacher holds the pack of cards vertically in 
front of the class, the lower edge of the pack resting upon 
the fingers of her left hand. As the child pronounces the 
word on the front card, the teacher quickly lifts it over to 
the back of the pack and the word on the next card exposed 
is immediately pronounced. The class pronounces in this 
way all the words on one side of the cards. The whole pack 
is then turned round and the words on the other side of the 
cards are pronounced in the same way. 

(2) In case the teacher wishes to show the words on both 
sides of each card before going on, she must handle the cards 
a little differently. She takes the card that is in front by 
the middle of its lower edge, and, by a quick turn of the 
wrist, she shows the reverse of it before slipping it out of 
sight at the back of the pack. 

The whole class should give the word quickly if the child 
called upon does not pronounce it before the teacher calls 
out "Class!" Occasionally the class may give the words 
in concert. Sometimes the cards may be placed in a row 
on the blackboard ledge. Teacher pronounces a word and 
instantly calls name of pupil, who runs and gets the card, 
bringing it to her. For a variation of this drill, the teacher 
writes the word on the board, instead of pronouncing it, 
immediately calling upon the pupil, who is to run to the 
blackboard ledge, get the card showing the printed word, 



SUGGESTIONS, AIDS, AND DEVICES 435 

and then hold it under the script form which the teacher 
has written. Again, the cards may be distributed among 
the children. The teacher calls for a word, and the pupil 
who holds that word runs to the teacher with it. 

The teacher arranges the printed cards in a pack follow- 
ing the order of the words given in the Primer. She tells 
the page of the Primer to be used and the children open 
to the page indicated. The teacher shows words on cards 
and pupils find them on Primer page. 

The word cards may be placed on the chalk shelf all 
around the room. Two children start a race from each end 
of the row of words, beginning when the teacher says 
"Ready!" to pick up the cards on which are words he 
knows by sight. When the two children have taken up all 
the words they know, they stand in front of the class to 
pronounce the words on the cards they hold. 

Again, the teacher writes words in columns on the board, 
low enough for the children to touch with ease. To one 
child is given a piece of chalk of one color, to another child 
a piece of chalk of a different color. At the word "Ready!" 
they begin to encircle or catch in their rings, or nets, as many 
of the words as they know by sight. 

Again, a number of words that need to be drilled upon 
are written in columns on the board, thus: 



run 


see 


Do 


the 


can 


now 


Frank 


you 


ball 


pitch 


stop 


Alice 


I 


get 


to 



The teacher says, "Touch with the pointer the words 
that say, I see Frank. I see Alice run. 
I see Frank pitch the ball. 
Alice can pitch the ball. 
Frank can get the ball. 
You can see the ball. 



436 THE HALIBURTON TEACHER'S MANUAL 

See Frank stop the ball. 

Do you see the ball? 

I see Alice pitch the ball to Frank." 

Lists of words are written on the board. A pupil is sent 
from the room. Then the class decide upon one of the 
words as the word which the pupil who is out must find. 
The pupil returns to the room and, pointing to the words 
one after the other, asks, as he touches the word, "Is it 
have?" "Is it with?" "Is it like?" etc., until he hits upon 
the word which the class had selected. 

Besides the cards containing sight words, to be used in 
drills as described above, there are other cards for drilling on 
the sounds of letters and letter combinations, or phonograms. 
Sets of all Drill Cards for the Haliburton Readers may be 
obtained from D. C. Heath and Company, the publishers. 

On one side of each Phonic Drill Card is a word from 
which the initial letter and its sound is deduced. On the 
other side is the initial letter in two forms, the capital and 
the small letter. These cards can be made by the teacher 
from manila paper, bought by the yard, and the words and 
letters can be printed with a sign-marker, or she may make 
them in script by using oil crayons, or those crayons known 
as the "Standard checking crayon No. 31," or the "Mark- 
ing crayon No. 39." Even better than these might be a 
large shading pen, or rubber pen, that can be bought for 
about 25 cents and may be used with ink. 

These cards are used in class drills for the purpose of 
associating the form of the letter or letters with the familiar 
sounds heard in the word. Valuable concert work can be 
done with these cards. 

The teacher should practice the handling of these cards 
until she becomes skilled in their use. 

With her left hand she holds the pack of cards in front 
of her. As she looks down at the card which is at the back 



SUGGESTIONS, AIDS, AND DEVICES 437 

of the pack and next to her, she sees the letters which are 
on the side of the card exposed to her gaze. The letters 
tell her what word is on the other side of the card. She 
lifts that card over the top of the pack so that the class 
sees the word. She holds it above the pack for an instant, 
till the class pronounces the word. Then, by a quick turn 
of her wrist, she shows the other side of the card. The 
class gives the sound of the word's initial letter which 
appears on that side. The card is quickly turned again 
and placed in front of the pack so that the word is on the 
outside, exposed to the class. The only reason for this is 
that the card can most easily and quickly be disposed of by 
this arrangement and the next card quickly treated in the 
same way. Such concerted work should be brisk and 
animated. The slower, duller pupils should be taken indi- 
vidually or in small groups for repetition of this work. 

Some teachers find it very helpful to make additional 
packs of cards for class drills. Each of these cards has on 
one side a familiar word, — one that the class knows as a 
sight word. On the other side of the card, or on the same 
side under the word, is shown the letter combination, or 
phonogram, that helps with the initial phonogram to sound 
the word. The following arrangement represents the ap- 
pearance of some of the cards: Ma * , „ . 

r see room look ram 

ee oo oo ai 

Drills with these cards are to be conducted as described 
above for the other cards if the phonograms are on one 
side and the words on the other side of the cards. By turn- 
ing to the numbered groups of words to be found in this 
Manual under the heading of The Phonetic Chart (see 
pages 373-398) the teacher will find at the end of each 
Group the words and phonograms which she may wish to 
put on these additional packs of drill cards. 



438 THE HALIBURTON TEACHER'S MANUAL 

A good form of rapid drill from the blackboard may be 
given in the following way: 

The teacher writes a phonogram on the board and has the 
class give its sound; as, for instance, the phonogram ight. 
As fast as she can make and erase different letters placed 
before the phonogram, she presents different words for the 
class to pronounce immediately. By writing /, then I, m, 
n, r, s, t, kn, ft, pi, and si before ight, she shows rapidly and 
the class pronounces instantly the words fight, light, might, 
night, right, sight, tight, knight, fright, plight, and slight. 

Drill in phonics leads automatically to drill in spelling. 

It may be urged that spelling is more correctly regarded 
as a part of language than as a part of reading. This is 
true, but there are ample reasons why such drills in phonics 
as are given here provide the very best preparation for 
intelligent and thoughtful spelling. There is no reason why 
a child may not "apply his knowledge of phonics to spelling 
just as readily as to reading." Indirectly the application 
of phonics to spelling will aid in reading. 

Directions for using the Phonetic Chart in sounding words 
are given elsewhere in this Manual. This chart may also 
be used to great advantage as a spelling chart. 

If the teacher has not one of the charts published by 
D. C. Heath and Company, she can always turn to the 
pages of her Manual on which the words of the Phonetic 
Chart are given. Any one of these lists she can copy upon 
the blackboard for use as a drill in spelling. 

The spelling process for each word should be first sound 
spelling, next oral spelling, and thirdly written spelling; these 
steps may be realized as follows: 

(1) Class sound and pronounce all the words of the list. 

(2) The words are erased (or the chart is turned over) 
and the teacher pronounces a word. Pupil sounds the word, 
giving every sound into which he can analyze the word. 



SUGGESTIONS, AIDS, AND DEVICES 439 

He then spells the word orally; that is, calls the letters in 
the word by their names in the right order. 

(3) The class writes the word. 

Such work as this should not be begun before the latter 
part of the first year or the beginning of the second year. 

It is not well for the pupils to learn the names of the 
letters of the alphabet before this time. If the names of 
the letters are learned too early, the pupils will not learn 
to depend upon the sounds of the letters in mastering words 
for themselves, which, after all, is the chief purpose for 
which the teacher gives the drills in phonics. 



